A World of Fragrance
Exclusive to Tuscany
The Scuola Italiana del Profumo in Florence offers perfumery courses in English and Italian.
Learn about fragrances from the foundation (base notes) to the finishings (top notes), to design and marketing.
The hands-on experience culminates in the creation by the student of a unique, custom perfume.
Classes are held on the premises of the Antica Erboristeria San Simone, which carries on a 300-year-old tradition of producing and selling personalized holistic remedies, perfumes and cosmetics.
VIA GHIBELLINA 190/R FLORENCE ITALY Tel. + 39 393 823 4575 / info@anticaerboristeriasansimone.it www.anticaerboristeriasansimone.it
The cover photo of the Florence’s bell tower and Cathedral is by Daniel Cilia
Direttore Responsabile
managing editor Rosanna Cirigliano
graphic design Alessandro Naldi
music editor Anne Lokken
art editor Elizabeth Wicks
tuscan editor Rita Kungel
photographers Andrea Pistolesi
Marco Pardini
Morgan Angove
Sophie Holloway
Elisa Lopez Rochin
Trinity Pape
editing Trinity Pape (photo)
Evie Mauri (copy)
contributing writers Lucy Turner
Maura Marshall
Molly Mulvihill
Vivian Stacey
Sophie Holloway
Parker Hurley
Milla Elizabeth
Sofia Barsan
Jessica Baird
interns Ayana Wilmot
Sophia Koch
Kyla Pehr
Daniel Capobianco
Vinnie Wilson
Colin Healy
Johanna Kapsis
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THE TIMELESS TOWERS OF FLORENCE
Nestled amidst the green Tuscan hills, the city of Florence stands as a testament to the magnificence of human creation and the rich, evolving tapestry of Italian life. Revered globally for its spectacular Renaissance heritage, with its grandiose architecture and culture, Florence’s city center is unparalleled. Yet, beneath its gilded facade lies a trove of hidden gems, towers that incarnate living antiquity.
While the echoes of Michelangelo’s chisel and Raphael’s paintbrush still resound, it is the stoic presence of medieval Florence that whispers of the city’s forgotten past. A city steeped in history, Florence tells the story of tumultuous times gone by through its buildings and cobblestone streets. The turmoil of divided factions among the city shaped the very essence of Florence’s identity.
by Maura Marshall
photo by Andrea Pistolesi
The construction of house and watch towers began with the wealthiest and most powerful families wanting to establish their supremacy. With Florence’s rapidly increasing population, all families within the city walls began constructing towers as a means of safety and defense. It was recognized throughout the city that the tallest towers represented the most influential of families.
In the 12th and 13th centuries Florence stood divided, torn by the ideological division between the Guelphs, who were loyal to the Pope and the
Hidden gems of Florence’s past
San Niccolò tower
unification of the Papal states, and the Ghibellines, who supported the expansion of the imperial powers. Amidst the fray of political strife, the towers of medieval Florence rose defiantly and stood as structures of power and fortitude. These towers, once symbols of military might, served not only as a representation of wealth and prestige, but also as strategic barricades in the ceaseless struggle for dominance.
Across the cityscape, some 160 of these imposing towers once soared 60m/197 ft. in the sky. Today, though time’s relentless march has whittled this number down to a mere 50, these towers stand as silent landmarks of the Florentine Middle Ages; guardians of an influential era past. They are a testament to the enduring spirit of a city in flux.
To tour the shadowed alleys and sunny piazzas of Florence is to embark on a journey through the archives of time itself. Beyond the magnificent facades of Renaissance architecture, the weathered stones of medieval towers stand as monuments to endurance and resilience. Though war and the passage of time have taken their toll, the integrity and essence of these structures remain.
The heart of city’s character lies within the medieval towers, crucial to the understanding of Florence’s history.
Florence faced destruction during the Second World War and was forced to rebuild. Several of the towers were damaged during the war and since have been reconstructed and reinforced. Though the stonework may not be the original dating back to the Middle Ages, the buildings were restored to their original form.
Among the surviving towers, each has a unique story. Some line the Arno River, and some are scattered throughout the city center.
One of the most notable remaining is Torre della Castagna in Piazza San Martino, its exterior remains unchanged since medieval times. In the Middle Ages it was used by important religious and government officials to vote on civic decisions. This is one of the first records of the use of a ballot.
The cylindrical tower, Pagliazza, in Piazza Santa Elisabetta, was built between the sixth and seventh centuries by invaders of Florence, either the Byzantines or the Lombards. It was used as a women’s prison in medieval times. Most prisons had unlivable conditions; the inmates at the
Pagliazza, however, were provided hay beds so they would not sleep on the cold, hard stone. It has since been transformed from a tower of captivity to the elegant and hospitable Brunelleschi Hotel and restaurant.
The 57m/187 ft. Torre della Volognana is adjacent to the first public museum in Florence, the Bargello, renowned for its Renaissance sculpture collection. It began as a prison and the tower, along with the Bargello, before its transformation into a gallery, evolved into the palace of the Captain of the People.
One of the most authentic medieval towers is the Torre dei Donati. It still stands in Florence, located in the streets behind Piazza del Duomo. This is one of the towers whose medieval architecture can be easily spotted. This tower was refurbished and almost fully restored to its historic design. Some of the original light fixtures were restored and the plaster surrounding the building was removed to reveal the original stonework.
These towers are distinctly intertwined with the history of Florence and Italy as a whole. In Dante’s ‘Divine Comedy’ the residing family of Torre dei Visdomini is accused of trying to turn their own profit on the Florentine church’s properties. The tower is adorned with a plaque in reference to this influential family in medieval Florence.
Beyond the historical significance, the towers of Florence stand as architectural marvels. The design of these towers, which served functional purposes, is a testament to the ingenuity of its builder. Each level, along with the attached buildings, was meticulously constructed to serve and protect the families inside. From the storage containers on the bottom floors to the lofty watchtowers that adorned the top of the structure, each facet of the design contributes to the fortification and utility of the building.
During wars, the fate of the towers was intertwined with that of the families; if a battle was lost, the tower would be lowered or knocked down entirely. This was the case of the Torre dei Gianfigliazzi on Via Tornabuoni, commissioned by the Ruggini family, Guelph party sympathizers. It was demolished after the Battle of Montaperti (1260). Reconstructed, it was home to the Gianfigliazzi family from the 14th to the 18th centuries.
A law enacted in the midst of political quarrels prohibited any tower from being higher than fifty arm lengths. This gives insight as to why many of the towers that can be seen in Florence today are half of their original height.
Throughout times of turmoil, watch towers were often used for protection, however, the families and soldiers did not live in
Gianfigliazzi tower on via Tornabuoni
them. There were smaller living quarters that were attached to these buildings. In fact, the only way to access the tower was through the living quarters, which would offer an extra level of protection to those fighting.
The San Niccolò Tower on the Arno stands as a resilient sentinel along the ancient city walls, its silhouette proudly untouched by the passage of centuries. While numerous towers in Florence were lowered due to the dictation of medieval ordinances, San Niccolò resisted such alterations. Unlike its counterparts, San Niccolò’s strategic positioning served as immunity to such concerns. When cannonballs became a threat in times of conflict, any defense towers that stood too tall threatened the buildings behind it. San Niccolò, however, was positioned in front of a hill rather than a neighborhood. This ensured the safety of the homes and families within the city walls.
Before the Renaissance era brought about worldly knowledge through the understanding of art, symbolism reigned supreme as the primary mode of learning. Towers were structures of wealth and influence, serving as symbols of the Florentine families. They not only represented the prosperity and dominance of Florentine families, but also mirrored the authority of religion and the city itself.
The lowering of the medieval towers belonging to families ensured that no privately owned buildings surpassed the importance of religion and civic governance.
Florence’s city hall, Palazzo Vecchio, defines the skyline. Prior to the construction of the Cathedral of Santa Maria del Fiore, the principal church of Florence and the city hall were erected to equal heights. The deliberate architectural choice ensured the church and city were seen as having equal power.
The bell in the 95-meter (314 ft.) tower of Palazzo Vecchio had many uses throughout history. In times of battle it was used to tell the people of Florence to cease fighting and retreat. Since then, it most notably rang on August 11, 1944 in honor of Florence’s liberation from the Nazis.
A true wonder of Florentine gothic architecture is Giotto’s Bell Tower, in fact constructed to match the beauty of the massive Cathedral of Santa Maria del Fiore. Construction began in 1334 with artist Giotto at its head, designing the geometric accents of pink and green marble decorating the stunningly intricate white
column. Looming 84.7 meters (278 feet) above the Piazza del Duomo, a narrow stairway of approximately 414 steps can be used to reach the top of the bell tower, offering panoramic views of the city center.
Slightly incongruous with the typical spires of gothic architecture is the tower’s relatively simple, flat top. Giotto died in 1337; although his original design did feature a towering spire, due to technical reasons, this metaphorical reach to heaven was unable to be realized after his death.
Still today, Giotto’s tower, higher than
the neighboring Cathedral, is unique in the skyline.
Though at first glance they may not command the same awe-inspiring presence as their Renaissance counterparts, the towers of Florence adorn the city and skyline with a sense of timelessness. Through the ages, they have been transformed into homes, businesses, and landmarks. They are monuments to the persevering spirit of the city forged through adversity, and an eternal representation of the legacy of Florence across centuries.
TORRE DI BELLOSGUARDO
Historic Hospitality
Torre di Belloguardo (Bellosguardo Tower) was built for defense in 12th century.
Turned into a stately manor in the 16th century, in 1988
Baron Amerigo Franchetti opened his home, with an exquisite view of Florence, to guests.
A historical residence that is also a hotel, the frescoed halls and antique-furnished rooms of Torre di Bellosguardo are open all year round. A pool and garden are found on the extensive private grounds.
Torre di Bellosguardo Via Roti Michelozzi 2 Florence Tel. + 39 055/2298145 | info@torrebellosguardo.com www.torrebellosguardo.com
TIMELESS ANTIQUES AND ART AT FLORENCE’S BIAF
The Antiques Biennale: a show for collectors and a temporary museum to visitors
by Lucy Turner
Celebrating the 33rd edition and in return over 60 years of the event, the Biennale Internazionale dell’Antiquariato di Firenze (BIAF) gathers together art dealers both Italian and international to display quality modern and early pieces. Whether created by the hands of Italian masters themselves or artists who have engaged in Italian artistic heritage whilst working in Italy, BIAF offers its visitors the opportunity to browse a selection of antiques and artwork in the creative hub that is Florence, from September 28 to October 6.
The BIAF exists as one of the most important events dedicated to Italian art in the world, with over 25,000 visitors attending the last edition in 2023. The event also works in tandem with a rich cultural programme which involves and stretches across the entire city.
Florence's mayor, Sara Funaro describes the fair as offering the occasion to immerse ourselves in the beauty and richness of art, “a unique opportunity for all art lovers to admire rare and precious pieces up close.”
The ornate rooms of Palazzo Corsini, which overlook the Arno River, serve as a backdrop to the fair. The building dates from the 17th century and has previously been passed through the Ardinghelli, Medici and finally, the Corsini families with the Corsini descendants remaining as the owners today. The antiques show is set up to complement the late Baroque interior, comprising the terracotta details on the ceilings and the paintings executed by painters such as Anton Domenico Gabbiani, Alessandro Gherardini and Pier Dandini.
Florence itself is renowned for its artistic heritage and the city’s appreciation for art from all eras. Likewise, the BIAF prides itself on showcasing works from ancient times to more recent memory, with pieces from the late nineties as the most contemporary at the event. This year’s edition welcomes 80 prestigious exhibitors with 14
galleries joining the occasion for the first time; additionally, 13 more galleries will be in attendance from overseas.
The galleries in attendance comprise a unique group of dealers including Conalghi, Agnews, Botticelli Antichità and Enrico Frascione in addition to Sarti, Tornabuoni, Lampronti, Piva, Sperone & Westwater, Dickinson, Caretto & Occhinegro, Romano Fine Arts and Flavio Gianassi. Also joining the event are Lullo Pampoulides
from London and Rob Smeets from Geneva, both experts in old master paintings.
In the year of its 30th anniversary, Gallery Maurizio Canesso presents Bronzino’s Madonna col Bambino. The work is an “extraordinary testimonial to the crucial moment of Bronzino’s career where Pontormo’s artistic influence is still vivid in his paintings but is in conversation with the purity and vivacity that would become characteristic of Bronzino’s maturity,”
Madonna con Bambino by Florence Mannerist artist Bronzino
dating from 1525-26.
Bronzino, a Florentine artist of the 16th century, is best known for his portraits, in particular of the Medici family. Having only produced 85 paintings in his lifetime, the inclusion of this piece at the BIAF is certainly notable. The work demonstrates the point in Bronzino’s career during which he begins turning away from Pontormo, to whom he was apprenticed, and instead embraces the style that he would become best known.
Carlo Orsi will showcase Madonna con il Bambino and Santa Maria Maddalena, an oil painting by Tiziano Vecellio, or Titian, that is excellently preserved and executed with mastery. Created between 1555 and 1560, it is superior to other pieces by the Renaissance artist (1488/90 – 1576) depicting the same subjects and has been displayed in renowned museums such as Museo di Capodimonte, Galleria degli Uffizi and Hermitage of Saint Petersburg.
Botticelli Antichità presents the sculpture Testa del vescovo of Bishop Andrea de’ Mozzi, an important name in regards to the artistic development of 13th century Florence, responsible for the creation of Santa Croce and the Santa Maria Nuova Hospital.
Other notable pieces at the BIAF include Ambrogio Borghi’s polychrome plaster sculpture La Chioma di Berenice, or The Tresses of Berenice, which replicates the Carrara marble sculpture of the same name that the artist famously brought to the
International Exhibition of Paris in 1878. It was there that this sculpture of “the most beautiful body of a young woman who has ever come out [...] of a block of Carrara” (Parisian Gazette) was rightfully successful and even sold before the auction itself. The figure of young Queen Berenice is portrayed wearing only a necklace and raising her hands to the divine, supposedly vowing to sacrifice her flowing hair for the safe return of her husband from the war.
The Moroni Renzo gallery is offering two classical still-lifes featuring fruit, dating from the 17th century. The first is Natura morta di uva, pesche, anguria posta su un piano in pietra e un cardellino, painted by Luca Forte. The second, by Francesco Annicini, is entitled Natura morta di melagrane, uva, prugna e pesche, also an oil painting of the same era. Fruit still-lifes, whilst popular for their practicality to create, are also symbolic of the impermanence of life.
Amongst other works, Gallery Robertaebasta is showing Elefantessa con Elefantino (Elephant with baby elephant), a dark patinated bronze sculpture by Italian animalier Sirio Tofanari. Born in Florence in 1886, Tofanari became best known for his monkey sculptures, as was popular on the French market, thus the Elefantessa con Elefantino sculpture presents an alternative, unique insight into the artist’s body of works.
Also exhibited by Robertaebasta is Bernard Buffet’s Moustique (Mosquito), from 1952. Often compared to Pablo Picasso in
regards to popularity and artistic capacity, Buffet was one of the most famous French painters, printmakers and sculptors in the 1950s. Despite having created a considerably diverse body of work, Moustique is characteristic of the figurative and “miserabilist” style that Buffet is remembered for.
On the topic of this year’s BIAF, general secretary of the event Fabrizio Moretti states that “The list of galleries speaks for itself [...] Each exhibitor is the expert in their field, so to have them all gathered under one roof at Palazzo Corsini is an unmissable opportunity for collectors and the general public.”
THE INTERNATIONAL BIENNIAL ANTIQUES SHOW
September 28 - October 6
Palazzo Corsini Via del Parione, 11, Florence. Open from 10.30 am to 8 pm daily Admission: €15
By downloading the Magenta Smartcard on your mobile device, readers can receive a €5 discount on admission. www.magentaflorence.com
The Rape of Europa exhibited by Bacarelli
A work by Moses Levy at the BIAF
CAFFÈ GIUBBE ROSSE: THE RETURN
The
historic café & restaurant reopens in downtown Florence
by Lucy Turner & Ayana Wilmot
Located in Piazza della Repubblica, Caffè Giubbe Rosse has reopened to the public after five years of closure under new management. This historic institution, along with its waiters in red, reestablishes its status as an iconic venue in central Florence, renowned for its rich history as a cultural hub for writers, artists and intellectuals.
Besides excellent service and food, the café is renowned for its role in the city’s cultivation of the arts, as a meeting point for great minds of the not too distant past. Established in 1897 by two German brothers as ‘’Reininghaus Brewery,’’ the café became known for its waitstaff in red jackets, hence the name Giubbe Rosse.
Guests today can enjoy a variety of offerings, including light lunches, coffees, sweet treats, savory breakfasts, salads, aperitivi, and fine dining. Chef Giuseppe Lo Presti creates dishes combining local Tuscan products with a touch of Sicilian influence.
In addition to popular seafood tartares, the lunch menu features a dish called Rombo Chiodato, a white fish filet with a ratatouille of roasted onions, fresh eggplant, zucchini and peppers, in a light tomato sauce.
Alternatively, one could order an appealing twist on the New York-born club sandwich; the Club Sandwich delle Giubbe Rosse. Toasted bread is filled with chicken breast, fried egg, guanciale (Italian bacon, from Tuscany’s Casentino area), grilled tomato, and oregano.
Lo Presti’s signature dish is called Contaminazione, a stuffed pasta filled with Florentine tripe, vegan mayonnaise, tomato, basil, and squid ink. Though distinct, each flavor comes together in perfect harmony.
Besides quality of food, Giubbe Rosse also commits wholeheartedly to sustainability and waste reduction. This dedication can be observed in the guinea hen breast dish, slow roasted in butter French style and topped with a carrot and ginger cream. No part wasted, the bones of the hen are then cooked with white wine to form a flavorful reduction sauce that adds the final touch.
For those craving a sweet finish to their meal, there is the Ricciarello, a traditional almond paste cookie from Siena, lightly salted and served with a creamy gelato topped with cookie crumbs.
The Caffè Giubbe Rosse’s reputation as a rendezvous owes itself to the chess
club it once hosted, with the backroom becoming the official home of the influential Florentine Futurists and their art movement in 1913.
Notable literary personalities who frequented the Giubbe Rosse include Eugenio Montale, Elio Vittorini, Umberto Saba, Dino Campana, Giovanni Papini, Aldo Palazzeschi and Tommaso Landolfi, among many others. The café also welcomed young Florentine painters such as Ottone Rosai and Primo Conti.
The Giubbe Rosse also curated several influential publications, including Lacerba, La Voce, Il Selvaggi, Solaria and Campo di Marte; the latter two were founded at the cafe, in 1926 and 1938, respectively. During the Second World War, the establishment was occupied by American troops who used it as their headquarters, and it was not until 1947 that the café was back in business.
Caffè Giubbe Rosse now displays a renovated yet seemingly untouched décor, and stunning original features, such as stained glass windows. The Giubbe Rosse also plans to re-establish itself as a Caffè letterario (literary café), in the near future.
ONCE LOST, NOW FOUND
Theft items can be reclaimed at Florence’s Oggetti Trovati
by Parker Hurley
photo by Sophie Holloway
Petty crimes can occur anywhere, even in the city of the Renaissance. One person who experienced this unfortunate situation was Hollister Ferrier, an American expatriate who retired to Florence with her husband. While enjoying an aperitivo with a friend at a restaurant near Ponte Vecchio, Ferrier became the unwitting victim of a theft.
“ We were seated on a patio and were the only two people outside. There was nobody around. It’s not like we were in a crowded space or anything,” said Ferrier. “I had my purse to my side during the meal, but I put it on the table when I decided to pay.”
They noticed a man trying to communicate with them. He gestured that he had dropped something over the patio barrier and needed assistance retrieving it. In that split second of distraction, an accomplice leaned over and snatched Ferrier’s handbag before disappearing.
Ferrier’s purse, of course, contained her wallet, keys, cash, credit cards and important documents. “My permesso di soggiorno (permit to stay), my carta d’identita (Italian residency card) and my military ID were in there. I was fit to be tied,” said Ferrier, “I lost all the original paperwork needed to live in Italy. To replace it was going to be a nightmare.”
Ferrier filed a police report and even posted on Facebook, seemingly to no avail. However, five days later she received a text from a woman whose contact information was in her purse. “Your purse has been found.” The municipal police had come across it dumped on the ground, minus Ferrier’s cash and credit cards, but with
documents intact, and sent it to Oggetti Trovati (Lost and Found). The office director in turn reached out to a name and phone number on a slip of paper in her wallet.
Not commonly known to tourists and residents of the city, Oggetti Trovati receives missing items every day and waits for rightful owners to come to retrieve their belongings. The service, located close to Teatro Puccini, receives misplaced or stolen articles and holds them for a year, hoping that the owners will claim them. The police visit the office three times a week with keys, bags and wallets, even books. When airport, public transportation, museum and theatre personnel find objects that are left behind by mistake or discarded by a thief, they are promptly sent to the property service, which is also in touch with Florence’s U.S. Consulate. The cost to get back lost or stolen items varies based on their value, with a minimum fee of €3.50.
Visitors do not need a police report to reclaim their lost items but must provide descriptions or identifying details. For keys, a matching copy is required to obtain the original. To claim a phone, the make and model number are necessary.
Oggetti Trovati, located on via Veracini 5/5 near the Cascine Park, operates from Monday to Friday 8:30 am to 12:30 pm, with afternoon hours from 2:30 to 4 pm on Tuesdays and Thursdays. The office, which can be reached by bus 17, can also be contacted by phone at 055/334802 or via email at oggettitrovati@serviziallastrada.it.
TEEING OFF AROUND FLORENCE
Golf courses within and near city limits
Atrip to Italy, and Tuscany specifically, is seldom planned with golf in mind, although there are 10 public golf resorts in the region, the most of any in Italy. While golf in Florence proper or the Tuscan countryside is not the aim of a visit, time can still be carved out for a quick 9 or picturesque 18 thanks to Golf Club Parco di Firenze (9 holes), Le Pavoniere Golf & Country Club (18 holes), and Ugolino Golf Club (18 holes).
In Niccolò Cateni’s eyes, Italy’s golf scene is actually on a rapid ascent in popularity. “The situation is very positive and so is the atmosphere,” says Cateni, director of Le Pavoniere near Prato.
As he points out, significant factors in the pro golf ranks have also opened the world’s eyes to Italy’s fairways. Francesco Molinari’s victory at The Open in 2018 saw him become the first, and to date only, Italian golfer to win a major championship. And just last year, all attention turned to Marco Simone Golf & Country
Club outside Rome as it hosted the 44th Ryder Cup. So, with Italy starting to make a name for itself in golf, here is a look at some options that are available with a 25 mile radius of Florence’s Duomo.
GOLF CLUB PARCO DI FIRENZE
Starting within the city limits, Golf Club Parco di Firenze is a great place for a quick golf getaway. This 9-holer close to the Scandicci area offers a rate of €28, and becomes €38 should you want to go around twice for 18 holes. The staff at Parco di Firenze are very welcoming and accommodating, and will happily set you up with any rentals. A driving range is present to give you a chance to warm up before your round or just show up for some practice time.
The course is short and compact with lots of holes side by side. Be prepared to work on your short game as some holes require nothing more than a wedge approach. Small greens will give you even more opportunity to showcase your hand skills.
When traveling by public transit, your best bet is to take the T1 tram from outside Santa Maria Novella to the Talenti stop, a 10 minute walk to the course. With its proximity to the city center, Parco di Firenze represents the most viable option for a quick, low-cost round, giving you plenty of time to make it back for that late-evening dinner.
LE PAVONIERE GOLF & COUNTRY CLUB
Turning our attention north, a real treat can be found in Le Pavoniere Golf & Country Club, a great 18 hole layout that combines good course conditions with lovely views of the surrounding hills. The par 72 track is set on a big plot of land, and the layout takes advantage by stretching to 7000 yards from the back tees, making it no easy test for the experienced player. The course was designed by none other than Arnold Palmer, one of golf’s greatest legends, who visited the property multiple times to oversee its layout.
by Colin Healy photos by Vinnie Wilson & courtesy Le Pavoniere
Le Pavoniere Golf Club
Le Pavoniere is mostly flat with bunker-lined fairways and welcoming green complexes. It should be remembered to have a good supply of golf balls as water hazards come into play on a good number of holes, easily swallowing errant tee shots or poorly struck approaches. Still, the course is plenty open to allow a player to relax and enjoy their trip around Le Pavoniere. Its condition is the best of the three mentioned in this article.
The 210 bus line from Prato Centrale Sta tion can drop you off at Traversa Del Cro cifisso 7, just about a 10 minute walk from the course. Otherwise, car or taxi service can bring you right to the gate. For guests, tee times on their own are €100 on weekdays and €120 on weekends. A golf cart and club rental combined will bring the total up to around €200. There is a range for practice, and Tommaso, Andrea, and Mirella in the golf shop are there to make sure you are set to go before you tee off.
UGOLINO GOLF CLUB
Fellow Fascist party member Piero Sanpaolesi, superintendent of Monuments and Galleries in Pisa moved medieval masterpieces from the city’s major museums to the club during the Second World War.
The odd location for a hiding place is explained by Pavolini’s connection to Ugolino. Eventually,
a contingent of the famed Monuments Men, including Frederick Hartt, discovered the collection and properly returned the pieces.
Almost 40 years later, in 1983, the club hosted the Italian Open, a regular tournament on the DP World Tour schedule, formerly known as the European Tour.
Though it stands as the only time Ugolino hosted the event, they could not have asked for better fanfare as Bernhard Langer topped Seve Ballesteros in a playoff between two of European golf’s greatest legends.
The course itself is too short to host a big time event in the modern game, but the scenery remains unchanged. Almost every hole on the course provides a sweeping landscape of hillsides and small villages nestled below. In a reverse from Le Pavoniere, the course itself is far from flat, with plenty of holes taking a player up or down. Sloped fairways and small greens give an added element of difficulty, one that lacks in its yardage.
The 365 bus line will drop you off at the Poggio Ugolino stop, right outside the gates to the course. Tee time at Ugolino is not cheap, with a standard greens fee for 18 holes coming in around €140. If cart and club rental are added, be prepared to spend over €200 for the whole day. Such a price tag is certainly debatable, but the views from the course make Ugolino a nice
Ugolino Golf Club is home to spectacular views of the surrounding hills and countryside. Located about a 40 minute drive from the center of Florence, Ugolino has plenty of history and beauty to offer. The club was originally founded in 1889 by members of the British community who wanted to bring the game from their isle to Italy.
In a somewhat hidden room is a picture of Alessandro Pavolini inaugurating Ugolino Golf Club upon its reopening in a new location in 1934. Pavolini at the time was one of Italy’s most prominent members of the Fascist party.
Piazza San Marco 7/R Open daily noon-12:30 pm, 5-11 pm 055/217343 www.ristoranteaccademia.it
Buona tavola at
The Delights of Good Food in Florence Fresh pasta, Tuscan cooking, Southern Italian dishes
Parco di Firenze Golf Club
THE QUEST FOR ENGLISH-LANGUAGE MOVIES
In
the city of the Renaissance
by Vinnie Wilson
For English-speaking visitors of Florence, feelings of nostalgia for home are not uncommon. A selection of movie theaters scattered across the city serve to satisfy this longing: the Cinema Astra, the Giunti Odeon and the Cinema La Compagnia, all of which show films in English. As well, a movie in English is sometimes featured on the weekly program of the Spazio Alfieri.
PRESENT & FUTURE
“Consider the Florentine equation,” said Michele Crocchiola, director of the Cinema Astra. “The American-English community who have been living in Italy for a long time, come to see a movie here and they are happy even if the subtitles are in Italian because they understand. …For students, obviously, it’s a bit more difficult.”
The Cinema Astra is located just outside of Florence’s city center at Piazza Beccaria 9. As the smallest of the three, this cinema has one showing room of almost 100 seats. Attendees can purchase tickets through the movie theater’s website or in person at the box office, and special promotions and discounts are offered to frequenters of the establishment — particularly students.
“We are proud that we give this opportunity,” Crocchiola added, noting that between 15% and 20% of the Cinema Astra’s regular audiences are English-speaking.
The weekly program comprises mainly international films, some of which include popular American films, in addition to arthouse movies. By showing films in the original language, often with subtitles, it is the theater’s goal and aspiration to maintain the authenticity of each theme and emotion conveyed by the original actors and directors. Free water is offered during screenings courtesy Publicacqua. Although the Cinema Astra does not own a snack bar or allow food within the theater, so as to avoid disturbing other viewers, it is located in a square filled with multiple venues, including a bistrot, a cafe, and a gelateria, open before and after a showing.
The Giunti Odeon, compared to its historic setup as the Cinema Odeon, has transformed into a multifaceted entertainment hub conveniently located in Piazza Strozzi. The venue has retained much of the original art deco furnishings, including velvet seats and decorative columns. The ground floor cinema hall serves as a bookstore containing a vast variety of titles with sections dedicated to books in English and other languages.
Open to the public from 10 am to 8:30 pm, the revamped cinema space now hosts two screens. A large LED screen presents entertainment, news and special features during the day. An additional screen, hidden in daytime but rolled down nightly at 9 pm, presents current blockbusters mainly in English in addition to documentaries and restored versions of classic movies with a surround sound system. Tickets for the Giunti Odeon are available online, where viewers may choose their seat.
The last of the English-dedicated theaters is the Cinema La Compagnia at Via Cavour 50/r. Promoted by Regione Toscana, Cinema La Compagnia offers the occasional current film from the U.S. The theater also hosts 50 Days of International Film, a series of international film festivals
that feature screenings in the original language with English subtitles, encouraging movie-goers to engage in enlightening discussions and activities.
Chinese cinema is celebrated with the FanHua Film Festival. All of the movies have subtitles in both English and Italian.
The France Odeon Festival highlights contemporary French film with some earlier works in homage to a notable French director, all to underscore the strong cinematic relationship between France and Italy.
The Middle East Now film festival places constantly changing state of political, cultural, technological, and social happenings of this area in the spotlight. The feature films, documentaries, short films, and animated films are either in English or accompanied by English subtitles and come from a host of countries, specifically Afghanistan, Algeria, Bahrain, Egypt, Iran, Iraq, Israel, Jordan, Kuwait, Lebanon, Morocco, Libya, Palestine, Qatar, Saudi Arabia, Syria, Sudan, Tunisia, United Arab Emirates, Turkey, Oman, and Yemen.
The Florence Queer Festival focuses on the equality and dignity of LGBT+ people. The Florence Queer Film Festival’s purpose is to knock down the stereotypes
which have long been forced upon those who belong to the LGBT+ community.
Lo Schermo dell’Arte Festival explores the relationship between artists and cinema through films, videos, and installations. This is a celebration of contemporary art from all over the world through movies and documentaries.
Founded in 1959, the Festival dei Popoli promotes the study of social documentaries. The films featured in the festival deal
with such topics as social justice, immigration and relationship issues, cultural and generational differences; politics, society and the climate change are also themes examined. There are usually a host of special guests, including directors, musicians and Oscar-winning actors.
River to River is the only festival of Indian film held in Italy. Paying tribute to leading figures in Indian cinema, audiences can view movies and documentaries accompanied by their directors and Bollywood stars. Special events such as cooking classes round out the festival.
The theater itself contains one large showing room with a widescreen, a second, smaller screening room, and two separate conference rooms for meetings and presentations. Scheduled showtimes and links to purchase tickets can be found on La Compagnia website.
THE PAST
Even before the establishment of these three cinemas, however, Florence had already begun providing its English-speaking patrons with entertainment they could understand and enjoy.
The former Cinema Astro across from Vivoli in piazza San Simone was the first Florentine movie theater to specialize in films in English. Following suit, the Cinema Goldoni on via de’ Serragli — now closed — started offering films in English briefly in the 90s, and the Cinema Odeon began showing films in English when the Astro was closed on Mondays, both cashing in on the underserved English-speaking populations of Florence. Inaccessible during the COVID-19 pandemic, the Odeon reopened as the Giunti Odeon in 2023. Cinema La Compagnia was originally dubbed as Cinema Modernissimo in 1921 and was rebranded and remodernized in the 2010s.
Today’s English-screening movie theaters in Florence continue to offer a unique blend of familiar entertainment and cultural immersion, allowing foreign visitors to enjoy the latest movies and timeless classics without the anxieties of a language barrier. From international arthouse films to new releases, visiting any of these cinematic havens provide English-speaking travelers in the heart of Tuscany with a comforting taste of home.
Their inspiration for traditional cuisine with a personal touch comes from morning visits to the Sant’Ambrogio market.
Gilda greets each customer with a radiant smile in a charming setting where no two menus or place settings are alike.
Come by for breakfast, lunch, happy hour and dinner.
Gilda Bistrot Piazza Ghiberti 40-41/r, Florence Tel. 055/23 43 885 www.gildabistrot.it
Gilda and son William are the heart and soul of Gilda Bistrot.
THE SPIRITUAL HEART OF CASENTINO
The ancient church of San Pietro a Romena has a contemporary mission
There is beauty to be found in the unknown of Italy — outside of the cities, outside of the crowds, outside of the narrow streets littered with businesses of all shapes and sizes. The medieval church of San Pietro a Romena is a prime example of said unknown, a quiet escape only to be discovered by happenstance, a mingling of beauty and serenity nestled soundly in the hills of the Casentino valley.
Situated west of Camaldoli and La Verna, this rural church in Pratovecchio near the Romena Castle, San Pietro a Romena, has been active for nearly a millennium. Built atop a Roman pagan temple still visible in the crypt — which, itself, was built above an Etruscan temple — the parish church as seen today was finished in 1152. A stop for pilgrims on their way to Rome, it is one of the most important landmarks in the Romanesque style in the Casentino. This is especially evident in the capitals topping the columns, each distinguished by unique and symbolic decorative motifs in pure medieval style, ranging from wild beasts and angels to plants and flowers.
Set in a scenery of mountains and greenery, San Pietro a Romena is currently part of a complex including a retreat center. Neighboring the church is a building dedicated to prayer with religious iconography decorating the interior reminiscent of early Christianity. The still, candle-lit rooms can serve as a place for people of all faiths to forge a spiritual connection with their higher power of choice, to lose themselves in thought or even to simply sit still in the silence.
San Pietro a Romena also has temporary living accommodations available for visitors upon request, complete with full living quarters for individuals or couples opting to indulge in simplicity and sharing. A café and a restaurant are located on the property.
One of the streets bordering the church is named after Van Gogh due to the fact that the artist’s early death gravely affected his older brother. The sentiment of premature familial loss is one explored in the church’s “Garden of the Resurrection,” where flowering almond trees encircle an olive tree, emblematic of life. Each almond tree was planted by members of the Naìn Group, an organization of families mourning the early deaths of their children who come from all across Italy to better cope with their losses at San Pietro a Romena. Bereaved parents plant and name the trees, watching them grow as they would have wished to watch their children grow.
Though its primary attractions may be its parish church and its program for grieving parents, San Pietro a Romena is also a place of deep spirituality, offering a number of activities and amenities to instill a sense of peace and belonging in its visitors regardless of religious affiliation. A charming countryside view and a welcoming staff complete the list guarantees of San Pietro a Romena, which also hosts events such as concerts or festivals on its grounds throughout the year. Catholic Mass is held at 5 pm every Sunday, and further information as well as an events calendar is available on the church’s website.
by Daniel Capobianco & Kyla Pehr photo by Elisa Lopez Rochin
The Church of San Pietro a Romena
HISTORY IN ACTION: CASTLES IN CASENTINO
A Tour of Romena, Porciano and Poppi
Aby Daniel Capobianco
additional reporting by Kyla Pehr
photos by Andrea Pistolesi & Elisa Lopez Rochin
deer bounds by, unbothered by the occasional vehicle snaking its way up the hillside. Since no highways or direct railways cross the valley, it is difficult to pass through by chance; the move must be careful, calculated. Far from Renaissance Florence, the Casentino is situated, a region suspended in time with a 900 year old church, Romena, as its spiritual heart. Located approximately 50 kilometers (a little over 31 miles) east of Florence, the Casentino valley is one of four valleys in the province of Arezzo. Characterized by the lush, green forests, a number of wineries, medieval villages and landmarks dotting the cascading hillscapes, the Apennine-enclosed area continues to echo what once was. Almost a millennium has passed since the days of the Guidi counts, the dynasty who once governed the area and constructed many towers for defensive and strategic purposes. Urbanization is as foreign of a concept to the valley as the Casentino is little known to many. An air of timelessness and tradition flows alongside the source of the River Arno, which begins as a glittering stream trickling down from near the peak of Monte Falterona. Rich in nature, art and history, one might feel sick during the climb, perhaps due to the twists and turns along the centuries-old route built by the Etruscans and Romans, or perhaps due to anticipation. Just as the valley has long protected the region’s past, the castles of Casentino have long provided portals into it. Standing in various states of repair and ruin, these castles, all of which can be visited, are architectural marvels that not only inspire reflection on the Tuscany of yore but also show a commitment to honor cultural heritage. The following is a tour of some of the castles that call the Casentino home.
Romena Castle
ROMENA CASTLE
Two castle towers face each other atop a hill, solemn and stony-faced, as if engrossed in a centuries-old conversation regarding the surrounding countryside. Cypress trees line the kilometer-long (more than half a mile) path leading to the stone structures, framing them. A sizable field resides in the space between the towers, and in a poetic act of repurpose, overgrown wildflowers fill the moats that once provided many with a gruesome end. At a grand height of 621 meters (about 2,037 ft.) above sea level, the Romena Castle in Pratovecchio patiently awaits.
The Romena Castle originally comprised 12 surrounding turrets. Age and erosion, coupled with the earthquake of 1678 and locals taking stones from the castle for their own construction projects, have resulted in a steady decay of the site into what it is today: three towers, a bench overlooking the countryside, a small drawbridge and a moat. A miniature museum of the castle’s history and some medieval weaponry can be found in a restored room. With that, the Romena Castle makes for both a scenic point of relaxation and an opportunity to see Casentino’s history in action — walking along the same walls as Italy’s most famous poet.
Romena Castle was first documented in 1008, which is when it is believed to have been the property of Count Guido Alberto, Marquis of Spoleto. The property was then passed from him to its most famous owners, the Guidi family, and remained under the Tuscan aristocrats’ possession until 1357 when they sold it to the city of Florence. In 1440, the Romena Castle was captured by mercenaries hired by the Visconti family of Milan, but the castle was quickly liberated before being purchased at an auction by Count Ascanio of the Goretti de’ Flamini family in 1768. The family still owns the property today, maintaining the castle grounds and educating visitors about its past.
Dante Alighieri repeatedly spent time at the Romena Castle during his exile, where he is said to have been inspired by the severity of punishment prisoners received based on the level of the prison tower in which they were housed, which
resulted in the tiers of Inferno in his magnum opus, the Divina Commedia. Dante also referenced the towers of the Romena Castle in his “Divine Comedy.” In Canto XXX of his work, Dante encounters Mastro Adamo, who explains why he is in the Inferno: counterfeiting florin coins for the Guidi of Romena, which led to him being caught and burned alive along the old road of the Consuma in a place called Omomorto, derivative of the Italian Uomo morto, “the dead man.” For his crime, Dante includes Adamo with the hydropics, or those suffering from immense thirst while full of water. Adamo reminisces about the Casentino valley throughout his punishment, but the rivulets that flow into the Arno from Casentino become difficult for him to recall because they remind him of his thirst.
PORCIANO CASTLE
Floral smells fill the air, cultivating a feast for the senses. Ornamented in greenery, the Porciano Castle serves as the 35m/115 ft. centerpiece of the seven-cottage village of Porciano. At an elevation of 610m/2,001 ft. above sea level, five floors of history top off the picturesque view. The harmonic melodies of birdsong floats from the trees, and color overwhelms the immediate vision of onlookers, with pops of pinks and reds from the Porciano Castle’s garden juxtaposing the deep greens from the forests and hills beyond.
The castle was constructed by the Guidi
family in the 10th century for defensive purposes; the castle’s elevation gave as a strategic advantage due to the observation of the region that could be done from the height. The castle underwent immense renovations from 1963 to 1978 and is now owned by Americans Will Volker and Molly Conti. The Porciano Castle of today consists of the guard tower, the north wall and the main tower. The inside of the Porciano Castle contains a host of historic artifacts, some of which are indicative of the previous owners. The second floor is affectionately referred to as “Dante’s living room,” since Dante supposedly wrote several cantos of Purgatorio during his stay there between the 12th and 13th centuries. The last three floors of the castle are part of a bed and breakfast run by the owners, housing a total of nine in a five-bedroom, three-bathroom immersive medieval experience like no other. Aside from a place to stay, the Porciano Castle also offers tours, yoga and meditation sessions, wine and olive oil tastings, medieval-themed dinners, and of course, breathtaking scenery. Events like the lining of antique cars before the main tower are often held in the garden on which the castle sits, too. The garden boasts a lively plethora of greenery, the pride of which are the iris flowers, for which the Porciano Castle recently won an award. The variety of activities, sensory appeals and odes to the past make Porciano Castle an engaging experience for many.
Poppi Castle
POPPI CASTLE
Rounding off the hilltop castles in Casentino is the Poppi Castle, or the Castle of Count Guidi, which also served as the wedding venue of the current owners of the Porciano Castle. An almost 1,000-year-old monument, which is the largest and most nearly intact of the Guidi castles in the region, has always been used as the residence of the local political or administrative powers; in fact, it is still the seat of the Comune of Poppi today. Towering over the nearby town of Poppi, which sits at an elevation of 437 meters (about 1,434 feet) above sea level, the castle will likely continue to be a beacon of status and power in Tuscany for years to come.
Poppi Castle is surrounded by a dry moat, which, once full, defended the property from invaders. The walls are gilded with family crests in a spotty array, representing each of the families that have at one point owned the building. Chambers are decorated with ornate wallpaper emblematic of its era of construction. The lower floors of the castle once held an armory, stables and a prison, while the upper floors housed the lord’s family. The castle’s battle room and the top of the tower —a 104 step climb to the belfry that affords a panoramic view of the countryside—are arguably the most notable aspects. A library with about 25,000 works contains early manuscripts of Dante, and there is
a large bust of Dante’s head outside the castle to celebrate the Italian poet. Being major players in the works of
Dante and in 12th and 13th century Italian politics, the Guelphs and Ghibellines were legendary rivals at the time of the castle’s construction. The Battle of Campaldino in 1289 was one of their most renowned clashes, pitting 10,000 infantry and 2,000 cavalry Guelphs from Florence against 10,000 infantry and 800 cavalry Ghibellines from Arezzo. A 24-year-old Dante fought alongside the Guelphs, the winners of the battle, and the encounter has been immortalized through a series of miniature displays at Poppi Castle.
HISTORY IN ACTION
One of the best ways to get to know Tuscany is through its monuments, and the castles of the Casentino valley are no exception. In addition to those mentioned, tourists can also visit Castel San Niccolò, the Montemignaio Castle and the Palagio Fiorentino during their Tuscan travels. In examining the unique architecture of the castles of Casentino, not only do they mirror the values, traditions and identities that still characterize the region today, but they also provide a vital understanding of the past that help individuals in interpreting today.
Romena Castle
THE DEBUT OF AN EXPAT GUIDANCE SERVICE & PODCAST
‘Ask Fosca’ complements ‘15 With Fosca,’ Florence’s first podcast in English
by Jessica Baird & Kyla Pehr photo by Kirsten Hills
Fosca D’Acierno is a cultural consultant who helps Americans understand all things Italian, drawing on her own experiences to better assist clients adjusting to Italy. An Italian-American herself, D’Acierno prides herself on the intersection of her work and her personal identity. Although she had previously only visited Italy as a child, D’Acierno returned to the country after the completion of her first year in college for a summer in Rome.
“Little did I know that those two months would change the trajectory of my life forever,” D’Acierno said on the Ask Fosca website. “Every day I found myself face to face with immense, exceptional, and rarified beauty, even in the most mundane things. When I set foot in Florence, it was love at first sight and something magical happened: I knew it was meant to be.”
D’Acierno went on to major in comparative literature at Bryn Mawr College, furthering her education with a Master’s in Italian studies at Brown University and by spending a year studying abroad in Florence. After more time spent traveling back and forth between Italy and the U.S., D’Acierno “took the leap definitively,” moving to Italy and finding work, getting married, starting a family, getting divorced, dating as an adult and finding love once again.
At the beginning, D’Acierno found employment in Florence in the music industry. Trained classically, D’Acierno started as a singer/songwriter before working her way to production and management positions at different labels. D’Acierno then abandoned music in favor of becoming program coordinator for Stanford University’s Breyer Center for Overseas Studies in Florence, reflecting on her time abroad to successfully cultivate a curriculum that would best address student needs.
After more than two decades working for Stanford, D’Acierno opted for another career pivot. In April 2023, D’Acierno founded Ask Fosca, where she provides guidance to Americans seeking to move to Italy short-term, long-term and even permanently. Clients can use Ask Fosca to voice their queries and concerns about moving to Italy, and D’Acierno guides them through issues such as navigating the visa or citizenship processes, achieving language proficiency and/ or choosing a school, finding housing and forging connections — both personal and professional — offering expertise and help during a crucial transitional period.
15 WITH FOSCA
D’Acierno’s vast network of collaborators, partners and professionals paired with her passion for advising others has resulted in the birth of her podcast in English, 15 with Fosca. Similar to Ask Fosca, the podcast celebrates Italian culture in real-time, highlighting D’Acierno’s own stories and lived experiences alongside those of the range of guests that she invites to speak with her.
Thus far, 15 with Fosca has welcomed guests such as Italian actor, screenwriter and director Daphne di Cinto, Italian singer JADE, U.S. expat and art historian Alexandria Brown-Hejazi and art conservator Elizabeth Wicks, a local resident. Upcoming podcast episodes will delve into topics like D’Acierno’s experience balancing motherhood and a career while living abroad, sustainable fashion and the fine arts. With a diverse selection of topics and guests, 15 with Fosca proves itself culturally relevant and interesting to Americans and Italians alike. Keep an eye out for exciting new podcast developments coming later this year.
Fosca D’Acierno
A CONTEMPORARY SPIN ON TRADITIONAL SALADS
A guide to some of Florence’s best
It seems that most days in Florence are spent stumbling upon tiny side streets in the ever-present search for authentic Italian cuisine. For a lighter lunch, it’s time to find that perfect main course salad. The Florentine take is either a side dish or a gourmet experience. Below is a guide to the perfect one course meal.
GASTONE
Ristorante Vineria Gastone is a comfortable contemporary restaurant in the historical center of Florence at via Matteo Palmieri 24/26R. Priced affordably, Gastone offers four different salads at lunchtime with top quality, fresh ingredients that embody the creative gastronomic vision of the restaurant.
Gastone is a clean and contemporary space. The interior architecture of the restaurant reflects the concept of the restaurant, with a clean-cut Scandinavian design and emphasis on a variety of coastal blues with simple white walls and furniture and exposed wood beamed ceiling.
The restaurant serves top-quality fish in experiential meals that prioritize simplicity. The focus on seafood makes for very interesting and refreshing salads.
The Salmon Salad, completed with crushed almonds and broccoli, is a large portion size that lets the salmon shine. The Buddha bowl, a quinoa-based health bowl, uniquely pairs salmon tartare with orange and beetroot. The Botto salad interestingly pairs tuna tartare with white beans in an unexpected combination that
by Molly Mulvihill, Vivian Stacy & Sophie Holloway
& Elisa Lopez Rochin
is surprisingly bright, brought together by a lemony dressing. Finally, Gastone offers a classic take on the Caesar salad for those who choose not to order fish.
A wine list, curated by Mattia Petri, is made up of over 130 labels. Most of them are Italian, but the collection also includes some French champagnes.
BRAC
Just a short walk from the bustle of Piazza della Signoria, tucked away on a quiet side street, Libreria Brac is a haven offering fresh vegetarian food and dessert, coffee and wine, books, and above all else, a peaceful space to unwind. The literary café was created in 2009 by Sacha Sandri Olmo, who currently runs it alongside his son Yadava.
One of its most particular specialties are its salads — creative, fresh, and like all aspects of Brac, the invention of Sandri Olmo, who draws inspiration from his travels. Salad offerings vary according to the season.
A fixed highlight on the menu, the Patzaria consists of fresh, sweet beetroot garnished with a sprig of chives. It is served topped with a creamy white sauce made of Greek yogurt, lime, olive oil, spring onions, and garlic, wrapped in a cut of thinly sliced zucchini. The beets are light but filling, and the heavier sauce complements them well.
The Siciliana may be Brac’s version of a typical Sicilian salad, and is not to be missed. Sweet, juicy oranges mingle with the tang of fennel, sharply sliced white
photos by Morgan Angove
Ristorante Vinerie Gastone
BRAC
onions, and pleasantly bitter black olives. Coated in a vinaigrette and topped with almonds and raisins, this salad explodes in the mouth with a medley of flavors.
There is a reason why the avocado carpaccio is the most popular salad on the menu, and also why it remains there all year round. Rich, creamy, and filling, a thickly sliced avocado is sprinkled with black sesame seeds and interspersed with leafy greens. The entire salad is doused in a dressing made of tomatoes, almonds, and steamed celery, the unique creation of Sandri Olmo.
The Mediterranean summer salad is simple but classic. Tomatoes, black olives, leaves, and celery are tossed in a light vinaigrette, and sprinkled with herbs and pepper. The salad’s fresh flavor is rounded out by aged cheese and thin white onions that complement the mildness of the vegetables with a pleasing punch.
In the wintertime, two extra salads are added to the rotation. The Carlofortina salad contains potatoes, tomatoes, green beans, and almond pesto, and is a representation of a Southern Sardinian salad from the small island of Carloforte. There is also a Cavolo e mele salad featuring traditional cabbage, apples, and pomegranates, as well as special cauliflower sauce made with mustard and dill, which gives it a uniquely creamy, sweet and sour twist.
Libreria Brac is located at Via dei Vagellai, 18/R.
DITTA ARTIGANALE
With five locations and 11 years in business, local Florentine coffee chain Ditta Artigianale is renowned for its signature coffee and cozy atmosphere. Customers flock to various locations for a latte or cappuccino, or to enjoy their quality breakfast and lunch options and their vast supply of pastries and cakes. Ditta’s menu currently offers two salads.
Perfect for anyone craving classic American food, Ditta’s Caesar salad contains tender chicken pieces,
crispy bacon flakes and crunchy croutons, combining to create a dish that is simple but satisfying. The leaves are lightly dressed and sprinkled with parmesan cheese, both fresh and filling.
Ditta’s other salad option, the Power Quinoa bowl, is unique and bursting with a well-rounded palate of flavor. Quinoa and mixed greens make up the base, which is garnished with everything from asparagus and radishes to tomatoes and toasted almonds, complemented by sugary sweet strawberries that contrast nicely with sharp, spicy caramelized onion and edamame. The entire salad is doused in Ditta’s special artisanal tahini dressing, the creamy sauce adding a hot punch to the salad’s underlying freshness. The nourishing salad of sundry ingredients is perfectly named — a true “power bowl,” it will leave diners energized and satisfied.
CAFFÈ MICHELANGIOLO
Located near Piazza Santa Croce, Caffè Michelangiolo on Via Verdi is a charming café and bar that offers pastries, sandwiches and pasta as well as a fuller menu at lunch. Established in 1962, the cafe has been in the family ever since. Bustling and lively, it is frequented by locals, students and foreigners alike.
In addition to the dishes listed above, the café offers salads at lunch and in the evening, with the option to mix and match ingredients to your taste. Example combinations include a crunchy lettuce base, with tomatoes, crumbling cubes of feta, black or piccante olives, and a hearty helping of flavorsome tuna, this is your typical Greek salad but with a seafood twist. Alternatively, tuna can be substituted by freshly-cut slices of turkey breast, roast beef, chicken or salmon, or grilled aubergine and courgette if you prefer vegetarian. Mozzarella can be ordered instead of feta, for those would rather keep the salad purely Italian.
Dittà Artigianale
Caffè Michelangiolo, photo by Sophie Holloway
TUSCANY MOUNTAIN enjoy Your Adventure on 1 1/2 hours from Florence A TUSCANY MOUNTAIN enjoy Your Adventure on 1 1/2 hours from Florence
Abetone-Cutigliano offers skiing in the winter, hiking, biking and an adventure park in the summer, events, nature & and history excursions all year long with a student discount. The resort is divided into four valleys, offering 19 lifts and 30 miles of trails, more affordable than the U.S. and the Alps with a wide variety of slopes for skiing and snowboarding. For more information and to download the Tuscan Smart Card for the student discount, visit www.tuscantrends.com and www.tuscanymountain.it
ABETONE ALL YEAR ROUND
Discover the attractions of Tuscany’s mountain resort
by Milla Elizabeth & Sofia Barsan
photos by Elisa Lopez Rochin & Rosanna Cirigliano
It comes as a surprise that a whole new side of Tuscany exists just two to three hours away from Florence in the mountain village of Abetone. Situated at 1,388m/4500 ft. with the gondola lift of the Ovovia taking visitors to 1988m/6522 ft. atop Mount Gomito, Abetone is allyear-round getaway offering skiing, hiking, and biking in addition to nature reserves, a forest botanical garden and a museum.
In any season, the air is pure and the scenery stunning. During the winter, the resort provides a haven for experienced and beginner skiers and snowboarders alike with its groomed and expansive terrain. During the rest of the year, the visitor can explore mountain trails in a variety of ways.
The Trail Park App, available on the App Store or Play Store, can be downloaded to walk mountain paths with ease. A picturesque and easy hike begins in the center of Abetone, at the former cross-country ski trail, part of CAI 001. More strenuous, longer hikes lead to Lago Piatto and Lago Nero glacier lakes.
The Trail Park App can also be used to embark on a self-guided bike tour. One of the latest, the high-tech Cannondale e-bike, can be rented at the at the bottom of the gondola lift of the Abetone Gravity Park. If you are a beginning rider, “Sentiero n. 8 Anello del Maiori” is a lovely tree-lined gravel path leading to a loop. Bring a container for water, and fill it at one of Abetone’s plentiful fountains.
Mountain bikers can exercise their adrenaline by taking a downhill option following the area’s more challenging trails. With the convenience of the gondola lift, it is easy to get back to the top. Stop for lunch in the lodge to join locals and other outdoor enthusiasts to enjoy a hearty Italian mountain meal. Bring the kids or your inner child to the Parco Giochi (Adventure Park) located just below Abetone’s main square. There are plenty of things to do and for all ages: downhill tracks to navigate with tubbies, a 160m/525 ft. zipline into the trees, a climbing wall, and trampolines.
Nestled in the serene valley of the Sestaione, the Abetone Forest Botanical Garden
is a captivating oasis where the hustle of everyday life fades into the background, replaced by the gentle rustle of leaves and the sweet scent of blooming flowers. Established in 1987, this garden is a vibrant celebration of the Apennine’s natural heritage, designed to showcase diverse botanical offerings across 2.5 acres of forest, rocky terrains, and wetlands.
As visitors wander through the grounds, they are greeted by over 300 distinct plant varieties, each labeled with details about its scientific name, uses, and conservation status. The garden itself is divided into themed areas that illustrate the ecological diversity of the Northern Apennines, from lush fir
and beech forests to rocky outcrops blooming with saxifrages and primulas.
Six miles south of Abetone, in Pianosinatico, is the Museum of the Gothic Line. It contains displays pertaining to combat by U.S. troops who liberated the area from Nazis and Fascists. The soldiers belonged to the 10th Mountain Division who trained in Colorado before arriving in 1944. Today, there are also hikes of varying lengths to WW2 bunkers in the forest that depart from the museum.
Abetone is accessible by AT bus from the Pistoia train station; there is frequent service to Pistoia from Florence’s Santa Maria Novella station.
THE WIDTH AND BREADTH OF CLASSICAL MUSIC
A look at the Amici della Musica’s new concert season
by Ayana Wilmot
Ina world of ever-changing tastes and passions, there seems to be nothing quite as timeless as music. Andrea Lucchesini, artistic director of chamber music organization Gli Amici della Musica for the third consecutive year, is in accordance with this sentiment, and is applying new techniques to continue to link the classical with the contemporary for the upcoming 2024-25 season.
Lucchesini is a Tuscan-born pianist who studied with world-renowned Italian musician Maria Tipo. After winning a competition at age 18 at La Scala in Milan, he began his international career, later assuming the role of artistic director at the Fiesole Music School before being asked to head the artistic management of Florence’s Amici della Musica
The upcoming program is a collaborative decision between Lucchesini and his musicians; he considers their proposals, but also provides his own input and inventive direction.
Returning to the idea of timelessness, Lucchesini explains that his “objective in programming is precisely to offer the public music from all periods,” spanning the Renaissance to the 21st century. His openness to musical experimentation stems from his father’s background as a jazz player as well as his collaboration with great Italian composer Luciano Berio.
“He explained to me the mechanisms of contemporary music, and also pushed me to look for connections between traditional classical music and the music of today,” Lucchesini says with admiration.
The artistic director stresses the importance of the dialogue between the past and present in stimulating the listener and fostering a deeper understanding of the music. This is the impetus behind the Ritratti (Portraits) series, which enhances the listening experience by allowing contemporary composers to showcase their own work while discussing with the audience the classics that inspired their creative process.
Highlights of the season, according to Lucchesini, include the inaugural concert on October 12 by the up-and-coming Italian pianist Beatrice Rana. Rana performs at the world’s most esteemed concert halls and festivals, and records for Warner Classics. A further anticipated performance (November 30) is that by a recipient of numerous international awards, Andras Schiff, who notoriously keeps the contents of his show a secret until the very evening he plays.
Another compelling show, that Lucchesini believes will appeal even to children, involves a percussionist group called Tetraktis, whose instruments are made solely of recycled material, with the goal of raising collective consciousness about
society’s excess waste production (October 27). Foreigners will also welcome the return of the London-based Swingle Singers on December 14, just in time for Christmas, with a light and festive program.
The Amici will also revive a type of performance that peaked in popularity during the late 1800s, Tableau Vivant. French for “living picture,” this art form will feature actors’ physical recompositions of famed works by Michelangelo and Raphael while soloists from the Vittorio Calamani Philharmonic Orchestra provide an alluring musical accompaniment (March 16).
Young people are just as or even more fascinated by Lucchesini’s programming as long-time audience members. He attributes this both to his inclusion of younger musicians in his programs as well as to the seminars organized by Amici in local high schools. Due to its success, Lucchesini has been inspired to even begin to bring this initiative to American universities.
By creating a program that connects aspiring musicians with well-established names, Amici della Musica continues to intertwine the past and the present.
The Tetraktis percussion group
Pianist Beatrice Rana
MUSIC CALENDAR
OCTOBER
1 Tuesday at 7 pm
Institut Francais Florence, piazza Ognissanti, 2 SAXOPHONE AND PIANO RECITAL by Simone Bellagamba and William Belpassi Music of Lopez, Eychenne, Bedard, Creston, and Fitkin
3 Thursday at 7 pm
Cherubini Conservatory, Piazza delle Belle Arti, 2 CELLO AND PIANO RECITAL by Silvia Fira and Giorgio Trione Bartoli Music of Weinberg, Chopin, and Rachmaninoff
4 Friday at 8 pm
Institut Francais Florence, piazza Ognissanti, 2 VIOLIN AND PIANO RECITAL by Anna Molinari and Simone Ivaldi Music of Handel, Debussy, and Franck
6 Sunday at 5 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Zubin Mehta Music of Bruckner at 9 pm
Auditorium Stefano al Ponte, Piazza di Santo Stefano FLORENCE CHAMBER ORCHESTRA conducted by Giuseppe Lanzetta with soloist Fabrizio Meloni (clarinet) Music by Wagner, Mozart, and Schubert
7 Monday at 9 pm
Auditorium Stefano al Ponte, Piazza di Santo Stefano FLORENCE CHAMBER ORCHESTRA conducted by Giuseppe Lanzetta with soloist Fabrizio Meloni (clarinet) Music by Wagner, Mozart, and Schubert
10 Thursday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Daniele Gatti Music of Brahms
12 Saturday at 4 pm
Teatro della Pergola, via della Pergola, 12/32 PIANO RECITAL by Beatrice Rana Music of Mendelssohn, Brahms, and Ravel
17 Thursday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Daniele Gatti Music of Brahms
19 Saturday at 4 pm
Teatro della Pergola, via della Pergola, 12/32 PIANO RECITAL by Jin Ju Music of Chopin
20 Sunday at 6:30 pm
Murate Art District, Piazza delle Murate PORTRAITS | MARCO STROPPA with Erik Bertsch (piano) Music of Stroppa, Kurtag, Stroppa, Beethoven, and Brahms
24 Thursday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MADAMA BUTTERFLY opera by Giacomo Puccini
26 Saturday at 4 pm
Teatro della Pergola, via della Pergola, 12/32 VIOLIN AND PIANO RECITAL by Bomsori and Julia Okruashvili Music of Franck, Szymanowski, Beethoven, and Wieniawski
by
Johanna Kapsis
at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Daniele Gatti Music of Brahms
27 Sunday at 3:30 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MADAMA BUTTERFLY Opera by Giacomo Puccini
27 Sunday at 7 pm
Niccolini Theatre, Via Ricasoli, 3 TETRAKTIS PERCUSSION
Music of Reich, Pivak, Cage, Saveri, Ramadori, and Sollima
30 Wednesday at 9 pm
Teatro Verdi, via Ghibellina, 99 ORCHESTRA DELLA TOSCANA conducted by Diego Ceretta with soloist Frank Peter Zimmerman (violin) Music of Beethoven, Schumann, and Mendelssohn
31 Thursday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MADAMA BUTTERFLY Opera by Giacomo Puccini
NOVEMBER
2 Saturday at 4 pm
Teatro della Pergola, via della Pergola, 12/32 VOICE AND PIANO RECITAL by Sandrine Piau and David Kadouch Music of Schubert, Schumann, Liszt, Debussy, Wolf, Boulanger, and Duparc
3 Sunday at 5 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Matteo Parmeggiani with soloist Nicola Alaimo (baritone) Music of Donizetti at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MADAMA BUTTERFLY Opera by Giacomo Puccini
7 Thursday at 9 pm
Teatro Verdi, via Ghibellina, 99 ORCHESTRA DELLA TOSCANA conducted by James Conlon Music of Gluck, Mozart, and Haydn
8 Friday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Glass Marcano with soloist Genesis Moreno (soprano) Music of Bernstein and Dvořák
9 Saturday at 4 pm
Teatro della Pergola, via della Pergola, 12/32 VIOLIN AND PIANO RECITAL by Francesca Dego and Alessandro Taverna Music of Schoenberg, Strauss, and Beethoven at 6 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Glass Marcano with soloist Genesis Moreno (soprano) Music of Bernstein and Dvořák
10 Saturday at 7 pm Niccolini Theatre, Via Ricasoli, 3 QUATUOR AROD chamber music concert Music of Beethoven, Szymanowski, and Schumann
15 Friday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Federico Maria Sardelli with soloist Bruno de Sa (soprano) Music of Filz, Mozart, and Cherubini
16 Saturday at 4 pm
Teatro della Pergola, via della Pergola, 12/32 CELLO AND PIANO RECITAL by Pablo Ferrandez and Luis del Valle Music of Bruch, Beethoven, Rachmaninov, and Brahms
17 Sunday at 7 pm
Niccolini Theatre, Via Ricasoli, 3 MUSICA &... | BATTLES AND FOLLIES Music of Falconiero, Berio, Corelli, Birds, and Vivaldi
19 Tuesday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 LA TRAVIATA
Opera by Giuseppe Verdi
21 Thursday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 LA TRAVIATA
Opera by Giuseppe Verdi
23 Saturday at 4 pm
Teatro della Pergola, via della Pergola, 12/32 THE LIRA OF ORFEO with soloist Raffaele Pe (tenor) Music of Vivaldi
24 Sunday at 3:30 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 LA TRAVIATA
Opera by Giuseppe Verdi at 7 pm
Niccolini Theatre, Via Ricasoli, 3 PIANO RECITAL by Anna Queffelec Music of Beethoven
26 Tuesday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 LA TRAVIATA
Opera by Giuseppe Verdi
29 Friday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA Music of Puccini
30 Saturday at 4 pm
Teatro della Pergola, via della Pergola, 12/32 PIANO RECITAL by Sir Andras Schiff at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 LA TRAVIATA Opera by Giuseppe Verdi
DECEMBER
1 Sunday at 6:30 pm
Murate Art District, Piazza delle Murate PORTRAITS | GIULIA LORUSSO with Ruben Mattia Santorsa (electric guitar)
5 Thursday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Thomas Dausgaard Music of Bruckner
7 Saturday at 4 pm
Teatro della Pergola, via della Pergola, 12/32 CAMERATA DUCALE ENSEMBLE conducted by soloist Guido Rimonda (violin) Music of Vivaldi, Tartini, Viotti, and Paganini 2024/25
TICKETS ON SALE
online at Ticketone.it and at Teatro Verdi BoxO ce tel. +39 055 212320
Artistic Directorr Daniele Spini Principal Conductor Diego Ceretta orchestradellatoscana.it
8 Sunday at 7 pm
Niccolini Theatre, Via Ricasoli, 3 PIANO RECITAL by Filippo Gorini Music of Berg and Beethoven
13 Friday at 8 pm
Teatro del Maggio
Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Michele Spotti Music of Mendelssohn and Tchaikovsky
14 Saturday at 4 pm
Niccolini Theatre, Via Ricasoli, 3 THE SWINGLE SINGERS at 6 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Michele Spotti Music of Mendelssohn and Tchaikovsky
15 Sunday at 5 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAVRA & GIANNI SCHICCHI
One-act operas by Stravinsky and Puccini
18 Wednesday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAVRA & GIANNI SCHICCHI
One-act operas by Stravinsky and Puccini
19 Thursday at 9 pm
Teatro Politeama, Piazza Fratelli Rosselli, 6, Poggibonsi ORCHESTRA DELLA TOSCANA conducted by Diego Ceretta Music of Wagner and Beethoven
20 Friday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAVRA & GIANNI SCHICCHI
One-act operas by Stravinsky and Puccini at 9 pm
Teatro Comunale Garibaldi, Piazza Serristori 10, Figline Valdarno ORCHESTRA DELLA TOSCANA conducted by Diego Ceretta Music of Wagner and Beethoven
21 Saturday at 8 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA conducted by Ivor Bolton Music of Mozart and Stravinsky
22 Sunday at 11 am
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE CHOIRS at 3:30 pm
Teatro del Maggio, Piazzale Vittorio Gui, 1 MAVRA & GIANNI SCHICCHI one-act operas by Stravinsky and Puccini
23 Monday at 9 pm Metropolitan Theater, Piazza Licurgo Cappelletti, 2, Livorno ORCHESTRA DELLA TOSCANA conducted by Diego Ceretta Music of Wagner and Beethoven
24 Tuesday at 5 pm
Teatro Verdi, via Ghibellina, 99 ORCHESTRA DELLA TOSCANA conducted by Diego Ceretta Music of Wagner and Beethoven
EDITION NUMBER 8 -9-10 november 2024
TRADITIONAL FAIR DEDICATED TO AGRICULTURE THE ENVIRONMENT AND FOOD FIGLINE VALDARNO JUST A FEW KM FROM FLORENCE
Agricoltura - Ambiente - Alimentazione
CON IL PATROCINIO E IL CONTRIBUTO DI
TOWERS OF STRENGTH
Florence’s English-speaking women’s organizations
by Sophia Koch
photos by Elisa Lopez Rochin & Trinity Pape
Living in a new country in your early twenties can be nerve-wracking, especially before the 2000s when few people spoke English. New people, new food, and a whole new culture — nothing to remind one of home.
That is when Florence’s English-speaking women’s groups come into play.
Before these groups were founded, the only English-speaking places to go to were St. Mark’s English Church or St. James American Church. Then, in 1975, the first of the city’s English-speaking women’s groups began: the American-International League of Florence (AILO). Fifteen years later, in 1990, a second women’s group followed: Network, later renamed the Women’s International Network (WIN).
As a registered non-profit, AILO’s overall mission is to “contribute to community well-being” through fundraising for charity and promoting connection between its members and the Italian community. Founded in 1975 by Americans living in Florence, the organization brings together members from all over the world and has provided financial support to 360 local nonprofits over the years. Meetings are held on the first Tuesday of each month from 9:30 am to 12:30 pm at Il Fuligno, Via Faenza 48. Night Owl get-togethers are also scheduled for those who are unable to attend in the morning. Starting in September 2024, annual dues are €100 and comprise coffee and pastries. The current president of AILO is Judi Roselli-Cecconi.
Compared to AILO, WIN is currently more of a business, culture and social network organization. This group provides women with opportunities to promote their work and socialize with other English-speaking women, helping them become more comfortable living in Florence and fostering a women-supporting-women environment.
Meetings, starting at 8 pm, consist of member discussion along with a speaker presentation that covers topics ranging from careers to human rights activism, and featuring Q&A sessions with authors, researchers, an American actress, a refugee on being a woman in Afghanistan and other guests. Most recently, WIN met on the second Wednesday of the month at 7:30 pm at Palazzo San Niccolò. Starting in fall 2024, the women will convene at Blend Eat at Corso dei Tintori, 10/12. Becoming a member presently costs €70 annually, with an additional €25 charged for drinks and finger food at each meeting. WIN’s president is Jane Fogarty. Both groups were initiated at Florence’s U.S. Consulate as American organizations to facilitate socialization and connection among expats living in Florence. A few years after their inceptions, they transitioned fully into English-speaking groups with membership open to other nationalities. WIN was founded exclusively for women, while AILO membership is open to both sexes.
HISTORY OF AILO
AILO originated as an offshoot of the St. James Guild of the St. James American Church. Katherine Lee, the wife of the pastor at the time, had a passion for libraries, so a children’s library with books in English was opened on church property. Subsequently, playgroups and other events for children were organized. The priest was not keen on continuing the St. James Guild, as he wished for the women to have the freedom to engage in other activities. Because of this, the group disbanded. A new organization was created, which was at first called the American League, meeting in the U.S. Consulate instead of the American Church. Thanks
Ann Pollak, AILO treasurer
Judi Rosselli-Cecconi, AILO president
to the Consulate, the women came in contact with English-speaking residents from Italy and other countries who wished to join, so the name was changed to the American-International League of Florence. AILO’s long-time home was the Hotel Park Palace, before moving to the Uno Hotel and the British Institute Library and finally, the frescoed halls of Il Fuligno.
Judy Fontanelli, who moved to Florence in the 1960s, has been a member of AILO since its formation. She mentioned that in the 1970s, there was a significant American presence in Florence, making it easy to assemble a congenial group since everyone sought to engage in activities with people who spoke their native language and shared similar experiences.
Another goal is to create a sense of belonging, and foster an exchange of ideas, and friendships among members. Although the AILO was initially created as a women’s organization, men were subsequently welcomed as members to participate in social events and volunteer for fundraising activities.
Since the beginning, AILO has run the Christmas Bazaar, its largest fundraising event of the year. In 2023, the group coordinated the Viva Vittoria project, when the entire square of Santa Croce was adorned with hand-crocheted or knitted blankets. Donors received a blanket, and proceeds supported non-profits aiding women who have experienced violence.
AILO also organizes Donation Day, a community event where its community efforts are recognized: money raised during the Christmas Bazaar is given to different charitable associations. In 2024, a total of €87,025 was distributed during Donation Day in Palazzo Vecchio, including earnings from Viva Vittoria, which
raised €69,525, with each of the three recipient associations— Artemisia Anti-Violence Center, Acisjf Florence and Nosotras Onlus—receiving €23,175. The Christmas Bazaar contributed an additional €17,500, which were given to ATISB-Tuscany Hydrocephalus and Spina Bifida Association, Church of the Seven Saints, Italian Red Cross Bagno a Ripoli, and several sports clubs. The funds gathered benefit various initiatives, including the delivery of basic necessities to the homeless, material and psychological support, provision of a defibrillator for disabled sports activities, and assistance for single women and mothers with minors.
HISTORY OF WIN
In 1990, Jamie O’Donnell, Andrea Davis, JoAnn Lantz, and Susan Tintori all gathered at a mutual friend’s apartment, U.S. Consul Virginia Morris. There, O’Donnell proposed the idea of starting a women’s organization for native English-speaking women residing in and close to Florence. Despite the existence of AILO, they envisioned a group that could gather in the evenings after the workday. Their objective was to cement a supportive community for women navigating cultural differences. They sought to bring together like-minded individuals who could meet once a month and to provide mutual support while facing these cultural disparities. First known as “Network,” the group eventually evolved into the “Women’s International Network” or WIN.
Network initially convened at the Vittorio Alfieri Language School, which no longer exists, as an English mother tongue women’s group, before moving to a classroom, with use of garden, at Syracuse University. With most members being working women,
Andrea Davis, co-founder of Network (WIN)
Susan Tintori, co-founder of Network (WIN)
the group aimed to foster both social and professional connections, a relatively unconventional concept within the American community at the time. Originally considering becoming a subgroup of AILO, extensive research led the founders to establish Network as an independent entity due to various reasons. They initiated awareness of Network through word of mouth, boosted by an article by an American journalist in the Florence section of the daily newspaper La Repubblica.
O’Donnell, Davis, Lantz, and Tintori formed the board of the group as president, vice president, secretary, and treasurer, and operated on a volunteer basis facilitating membership who contributed food, content for the newsletter and a small library. Meetings featured guest speakers, a tradition that persists today, although the lavish monthly potluck dinners have not continued. “Save Our Summers” provided information, support and socializing during July and August, and an annual Christmas party was organized according to true American tradition.
During the 1990s, Network flourished with over 100 members. In the 2000s, however, a significant number of women left the organization. Sylvia Brighina, originally from Canada, assumed the presidency in 2011 with the objective of revitalizing membership, which had dwindled to approximately 20. To achieve this, she opened the association to women whose first language was not English, as long as they could converse and comprehend English proficiently. Network’s long-time meeting venue at Syracuse, became no longer available, leading Brighina to secure a space at the Robert F. Kennedy International House of Human Rights to continue the potluck dinner meetings featuring a speaker. Despite
the relocation, Brighina successfully attracted more women, gradually increasing membership, and the group’s name was changed to WIN. She served as president for eight years until her second term ended in 2019.
Since the 2010s, WIN has organized the Members Fair, an event where members can promote and provide more information about their work. This reflects WIN’s current identity as a professional career network where women support each other’s businesses and help them gain traction. Social networking is augmented by club activities and information shared on the group chat.
THE FUTURE
A quote from the late Jamie O’Donnell sums up what both of these organizations offer, “friendship today is still one of the strongest bonds that women share. Think of Lucy and Ethel, Mary and Rhoda, etc. After having resided in Italy for many years, and although I enjoyed good friendships with Italian women, I still felt that there was something missing. How do you explain peanut butter and jelly sandwiches, drive-ins and proms (just to mention a few) to someone from a different culture? This was only the beginning of a long thought process which later evolved into setting up some basic guidelines of what we wanted to achieve with a social group that was to become Network.”
The American International League of Florence and Women’s International Network have shaped the experiences of English-speaking foreigners living in Florence, offering opportunities to broaden cultural knowledge, make friends, establish businesses, and give back to the community they now call home.
FINE
DINING AT ANY TIME OF DAY
Ristorante Santa Felicita is a historic family-run restaurant located in a square near Ponte Vecchio.
Dine indoors or on our patio for American breakfast, lunch & dinner featuring Tuscan specialties & pizza. Santa Felicita is perfect for group events
15% discount with the Magenta Smart Card
Piazza Santa Felicita 6/r • Florence Tel. 055/709.9575 www.ristorantesantafelicita.com
