Vista Magazine nr.51

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Con il patrocinio del Comune di Firenze

Volume 28, Number 2/Autumn 2017/Spedizione in abbonamento postale Gruppo IV – 70%/Magenta Editrice/Registered in the Court of Florence on March 17, 1989 No. 3816/Distributed free.

cany - In Town ce & Tus &A n e roun or l F d

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PISTOIA CULTURE CAPITAL SPECIAL ISSUE ANCIENT DISCOVERIES IN FLORENCE

THE INTERNATIONAL BIENNAL ANTIQUES FAIR

DINING & EVENTS

NEW DISCOVERIES IN FLORENCE

www.magentaflorence.com

The cover photo of the San Zeno Cathedral, Pistoia is by Andrea Pistolesi.

Direttore Responsabile executive editor music editor

Rosanna Cirigliano Anne Lokken

copy editor

Aubrey Williams

graphic design

Alessandro Naldi

photographers

Andrea Pistolesi Guido Cozzi Stefano Amantini Massimo Borchi Davood Madadpoor

contributing writers

Rita Kungel Elizabeth Wicks Madeleine Greaves Carson Cecil Martha Gonzalez Margaux Glovier Sheean Hanlan

interns

Danna Friedman Dominic Aliotti Tessa Lucia Debole Jennifer Klammer Freida Aguilar Karen Gee

offices

Borgo degli Albizi, 15 - 50122 Florence (Italy) Phone 055/2342898 E-mail: info@magentaflorence.com All editorial and advertising content & graphics © Magenta Editrice 1991 – 2017 Web sites: www.magentaflorence.com www.tuscantrends.com Blog: www.beautifulflorence.blogspot.com Subscriptions (4 issues, payable in advance): Italy and EU countries € 20 Outside Europe € 40 (airmail) plates

La Nuova Lito

printing Nidiaci

San Gimignano

opening

Ceiling mosaics in the Baptistery

EXCAVATING THE PAST A fascinating tour of archeology & ancient landmarks in Florence by

Margaux Glovier Rosanna Cirigliano Andrea Pistolesi

additional reporting by photos by

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hough it may seem that Florence’s history starts and stops with the Renaissance, a collection of art and architecture testifying to the city’s oldest memories is seemingly hidden while in plain sight. Those who wish to excavate ancient landmarks of Florence may embark on a tour that traverses the Baptistery, Badia Fiorentina, the Archeological Museum, and San Miniato.

THE BAPTISTERY: A HISTORICAL THRILLER BETTER THAN DAN BROWN “Nothing seems greater/Than when I am in my beautiful Saint John/Made to be the place of the baptized.”

This quote, which is immortalized in lines 16 through 18 of Dante’s Divine Comedy, accurately describes the spell that the Baptistery of Saint John (San Giovanni) places upon its visitors.

Dante, whose own baptism took place in San Giovanni in 1266, is only one of the many notable historical figures with links to the Baptistery. Amerigo Vespucci, Niccolò Machiavelli, and Cosimo I de’Medici all received the sacrament there.

Consecrated in 1059, the Baptistery’s history is a long and rich one. Built upon the remains of a pagan temple,

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its origin dates back to the time of the Romans.

The central pavement in the Baptistery is octagonal in shape and made of marble. Near the entrance, the inlaid marble alternates colors in geometric shapes, creating a wave-like effect, and probably Islamic in inspiration.

Striking are the different levels of Byzantine-style figurative ceiling mosaics, with a huge impassive haloed Christ, crucifixion holes in His hands and feet, as the centerpiece, which reminds one of the mosaic in San Miniato of the same period.

To the viewer’s right, and Christ’s left, the closest tier depicts Inferno (after all, the subject is the Last Judgment). There is a big, fat demon in the center of the Inferno panel with a body between his teeth—buttocks and legs protruding from his mouth.

The panel is full of writhing souls, with dark demons herding them toward a large devil. To the left is another big demon carrying stacks or piles of damned souls. The scene is quite terrifying, far beyond anything Dan Brown could think up.

Open 8:15 am to 8 pm Monday – Saturday, 8:30 am to 2 pm on Sunday. www.ilgrandemuseodelduomo.it.

THE BADIA FIORENTINA: A 1,000-YEAR JOURNEY THROUGH TIME The tower is as ubiquitous as Santa Maria del Fiore and Torre di Arnolfo in the scenic panorama of Florence, yet few of the visitors who crowd Florence’s city streets have ever been inside. This landmark is part of the Badia Fiorentina, an ancient abbey dedicated to the Virgin Mary built in 978.

Today, those entering the abbey are immediately confronted with the Apparition of the Virgin to Saint Bernard, a masterpiece

by Filippino Lippi that dates to approximately 1482. A penitent cluster of angels, their reverent faces turned up respectfully to meet St. Bernard’s gaze, surround a haloed Mary.

Though the outside of the Badia is simple, flashes of gold illuminate the interior.

Among the most splendid, ornate pieces is an enormous crucifix with scarlet and navy details that hangs from the center of the altar, as well as a gilded organ with paintings flanking either side.

Walking toward the main altar, the visitor may see monks and nuns of the Communities of Jerusalem bowing in front of it,

Courtyard in the Badia Fiorentina

clasping their hands as they devotedly pray.

In the dark abbey, these white-cloaked figures appear specter-like and shrouded in mystery. All are welcome to hear them sing Vespers daily (except Monday) at 6 pm.

The haunting atmosphere is augmented by the presence of the tomb of Duke Hugh (Ugo in Italian), Margrave of Tuscany (953-1001), created by Mino da Fiesole in the 15th century. He was the son of Willa, the Marchioness of Tuscany, who founded the abbey. As a testament to Florence’s recognition for his rule, a mass for the repose of Ugo’s soul is still held in the Badia every December 21.

Exiting through the simple cloister, the tower appears to loom down, cutting an even more impressive figure from a close angle. Leaving the Badia is a thousand-year leap into the modern age.

Open 3 - 6 pm on Monday; admission € 3.

THE ARCHEOLOGICAL MUSEUM: A TREASURE HUNT INTO THE PAST It is easy to forget that Florence has a rich history that dates far into the mists of time. With its collection of Egyptian, Etruscan, Greek, and Roman antiquities, the Museo Archeologico (Archeological Museum) near Piazza Santissima Annunziata reminds us of some of the city’s oldest memories.

An 1829 Franco-Tuscan archeological expedition brought the Egyptian collection;

the other half was sent to Paris. Exhibits include a gray, granite tabernacle from the reign of Ptolemy VIII in the first-century BC, religious art, jewelry, pottery, and tools.

Etruscan artifacts compose the core of the museum’s collection. Items such as the bronze mythical Chimera of Arezzo (400 BC), depicting the body of a lion with a serpent for a tail and a goat head attached to its back, were even displayed publicly in the Palazzo Vecchio by the decree of Grand Duke Cosimo de’ Medici.

Before visiting the museum, one may be unaware that the Etruscans, natives of Tuscany prior to Roman conquest (509 BC), wished their final burial place be in a sarcophagus, normally topped by a sculpture of the deceased. The reclining figures, propped up on one elbow, hold plates or cups in their hands, which they were expected to use at banquets of the afterlife.

The Hellenistic section on the second floor contains mythical figures in white marble, which are made all the more stunning as they glow in the museum’s dim lighting. A mermaid with curly tresses reclines on a pedestal, her relaxed pose creating a sharp contrast with her stern expression.

The Roman section with its fine bronzes represents the next layer of history. A splendid piece of workmanship is Idolino. This 30 BC copy of a Greek statue stretches out its hand, which once held a lamp. A male torso, the oldest known sculpture made according

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San Minato al Monte

to the lost wax technique of casting, flanks the work. A bronze horse’s head is believed to be the model for Donatello’s equestrian statue of Gattamelata in Padua.

Exiting the museum, it is worth pausing to enjoy its carefully cultivated garden walkway. A Greek nude sculpture rests serenely in the garden’s center, providing a final reminder of the true ancient artifacts that are buried beneath Florence’s Renaissance surface.

Open 8:30 am to 7 pm, Tuesday - Friday (open until 10 pm Wednesday through Sept.

27) and 8:30 am to 2 pm Monday, Saturday & Sunday. Closed the second, fourth, and fifth Sunday of the month. Admission: € 4.

SAN MINIATO: ART, HISTORY, & GREGORIAN CHANT Perched atop Monte alle Croci, overlooking the historical center of Florence, sits the splendid Benedictine church and monastery of San Miniato al Monte. Like many of Florence’s most beautiful ancient buildings, San Miniato al Monte is steeped in history.

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Named for a third-century Armenian, St. Minias, martyred during the persecution of Christians under the Roman emperor Decius, San Miniato was founded in 1018 by Hildebrand, Bishop of Florence.

The church, a jewel of Romanesque architecture capped by its façade in classic Tuscan green and white marble, however, is not simply a sterile repository for the rich collection of art which it houses, but is instead the living heart of an active community of Benedictine monks.

Built on the site of a paleochristian church, San Miniato is, along with the cathedral and baptistery complex at Pisa, among the first examples of a true “Italian Romanesque” style, standing in clear contradiction to those who would argue that “real” Italian art began in the 14th century.

Upon entering, the visitor’s attention is immediately drawn upward to the golden mosaic with its strong Byzantine influence.

Christ is pictured sternly giving benediction as St. Minias presents him with a crown, in a scene that naturally commands its audience’s respect.

On the church floor is a marble panel in

the center of the nave (1207), depicting the 12 signs of the zodiac.

San Miniato is a traditional Benedictine monastery. The monks who reside there today lead lives of austerity and simplicity, singing psalms and praises to God seven times a day according to the ancient rule of Saint Benedict. The church’s crypt is visually stunning. Mystical, meditative, otherworldly Gregorian chant liturgy takes place there at 5:45 pm Monday through Saturday, and at 5:30 pm on Sunday. If the capitals in the crypt seem instead to be of classical Roman design, it is because they were “borrowed” from the remains of Roman buildings.

The monks’ voices joining in song is an ancient tradition of Florence that should not be missed. When they begin to chant, their voices echo, while candles that shimmer along the crypt’s walls augment the serene atmosphere.

Open daily 8 am to 7:30 pm from Easter to early October. Winter hours are Monday – Saturday, 8 am to 1 pm and 2:30 pm to 6 pm, and Sunday, 8 am to 6 pm.

displays & shows

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ANTIQUITY, F MODERNITY & ELEGANCE A Preview of the Antiques Fair at Palazzo Corsini

by

Margaux Glovier

photo courtesy of the

Biennale dell’Antiquariato

or its 30th anniversary, the International Biennial Antiques Fair of Florence will showcase some of the world’s most popular works of modern art alongside the ancient masterpieces that it typically celebrates.

This year’s fair will highlight the unique relationship that exists in Florence between ancient and contemporary. In keeping with the Florentine tradition of mixing the old with the new, the Biennial has expanded its date constraints to include contemporary art created as recently as the 1980s for the first time ever.

According to the Secretary General of the Biennial, Fabrizio Moretti, the new layout of the Biennial “will be a mix of modernity and elegance.” Moretti has explained that his vision for this year’s fair involves a “mingling of works of a very different age, from archaeology to contemporary, through all the great moments in the history of universal art.”

Held in its traditional venue of Palazzo Corsini, a famous artist and fresh face will contribute to this year’s setup. Entrusted with designing a new layout, Matteo Corvino is a Venetian interior designer and set designer.

Corvino’s carefully constructed plan includes the installation of a glass ceiling for Palazzo Corsini’s central pathway and the reconstruction of a rooftop garden lined with boxwoods located on the terrace. These modern additions will allow Corvino to achieve his goal of providing visitors to the Biennial with greater visibility of the palace’s 17th-century architecture.

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displays & shows

Another highly anticipated modern art project is an art installation by Swiss artist Urs Fischer. His work, which includes drawings, collages, and room-size installations, shows the influences of movements such as Neo-Dada, Lost Art, and Situationist International.

Fischer’s previous pieces include Untitled (Bread House, 2004-2005), a Swiss chalet constructed out of loaves of bread, and three 23-foot-tall bronze bears, one of which was auctioned at Christie’s and another that was installed at Brown University. His contribution to the Biennial will undoubtedly be equally as innovative as it is thought provoking.

Fischer was also renowned internationally thanks to his wax sculpture at the 2011 Venice Biennial, a life-sized wax rendition of Giambologna’s monumental Rape of the Sabines at the Loggia dei Lanzi in Piazza della Signoria. From September 22, 2017 to January 21, 2018, the square will host his 12-meter (39 ft.) totem-inspired statue Big Clay, which, according to curator Francesco Bonami, “is meant to dialogue with Arnolfo’s tower.”

Two statues of figures, created by Fischer as candles meant to slowly melt during their exhibition, will also be situated between the copy of Michelangelo’s David and Donatello’s Judith and Holofernes near

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the entrance to Palazzo Vecchio.

Back at Palazzo Corsini, a final special exhibition offering a contrast between ancient and modern is “A Meeting Between Late Gothicism and the Contemporary: Pietro di Chellino and Pietro Annigoni.”

Treasures from Florence’s Cassa di Risparmio Foundation’s private collection will be exhibited as part of this retrospective, which is another masterful artistic combination of the old and new.

Regarding the more traditional antique pieces that have characterized the Biennial, visitors of this year’s fair can expect to view works checked for authenticity by an authoritative International Scientific Committee. Exhibits include a 16th-century sculpture by Giovanni Angelo del Maino of St. John the Evangelist (shown by Meheringer Benappi) and a marble sculpture by Battista Lorenzi depicting Virtue defeating Vice (presented by Giovanni Pratesi).

Additional pieces that will be featured are constructed from unique materials.

Longari Arte Milano will contribute Madonna Morgan, a terra cotta of the Virgin and Child by Mino da Fiesole. The Carlo Virgilio Gallery will unveil a Carrara marble statue of the mythological Greek shepherd Endymion sculpted by Virgilio Aristodemo Costoli.

Furnishings comprise a pair of Venetian sofas from Piva & C. Another notable item is a pair of 18th-century nightstands displayed by Alessandra di Castro.

This year’s event will also showcase a number of exceptional paintings. They include a battle series between the Greeks and Romans by Livio Mehus (Lullo Pampoulides) and a portrayal of the flight to Egypt by Orazio Samacchini (originally in the Giustiniani Collection and later part of the Imperial Hohenzollern Collection).

Another exceptional work is John Paul Castelli’s Lo Spadino, a still life of the seasons. Another featured painting is Russian artist Karl Brullov’s masterful representation of Russian noble Anatoly Demidov.

A work by renowned hyperrealist painter Cagnaccio di San Pietro is from the 20th century. The painting, which will be presented by Damiano Lapiccirella, is entitled The Letter of 1925, and shows two women immersed in light who are intently reading written correspondence.

Another 20th-century piece that will be featured is Pilino Nomellini’s large oil painting of blossoming flowers, titled Florentine Spring. The canvas, which has not been accessible to the public since 1922, was sourced from a private German collection and will be found at Paolo Antonacci Antiques stand.

Finally, it is worth noting that guests to this year’s Biennial will receive a discount on the entrance ticket to the show “The Cinquecento in Florence: Between Michelangelo, Pontormo, and Giambologna.”

Visitors to the exhibition, which will be held in Palazzo Strozzi, will also be able to enter the Biennial at a reduced price.

Major sponsors of this year’s event include Tuscany Airports and AXA Art. Overall, from sculpture to furnishings to paintings, the fair contains pieces that any antiques lover will certainly enjoy viewing.

It is clear that additions from Corvino, Fischer, and the Cassa di Risparmio will bring a modern twist to the traditional elegance that has characterized the Biennial in past years.

THE INTERNATIONAL BIENNIAL ANTIQUES FAIR September 23 - October 1, 2017 Via del Parione, 11, Florence.

Open from 10:30 am to 8 pm daily, except on September 28, when it will close at 7 pm.

Admission: €15

festivities & events

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TRADITION WITH A FUTURE The British Institute of Florence is 100 and going strong by

Shiri Gross Marco Giacomelli

photo by

C

ommemorating its centenary, the profile of the British Institute has been raised in the city of Florence this year. Banners outside the library and near the school in Piazza Strozzi are symbols of the Institute’s presence on both sides of the Arno. “We are delighted,” director Julia Race comments, “and quite moved by the way the city of Florence has responded to our big birthday.”

Stepping into the picturesque setting of the Harold Acton Library, visitors feel as if they’ve traveled 100 years backwards in time. A painting of King George VI gazes over overstuffed sofas sitting peacefully in the Dewey Decimal kingdom. It feels almost as if one has become a character in the 1908 novel, A Room with A View, until modernity dissolves this trance with free wireless Internet, audio-visual technology for viewing films, and a large projection screen suspended from the ceiling.

Currently, the Institute treasures souvenirs left by the Duchess of Cornwall and the Prince of Wales after the royal visit in late March. The Duchess read a story for children, and drew a picture of a horse, now part of the library collection. The Prince of Wales gifted the space with an art installation, 100 books covered in white gesso stacked upon one another, representing a distinguished century of cultural exchange and pursuit of knowledge.

Looking forward, the celebrations continue with the British 100 film festival at the Odeon, a centenary lecture series, and other special events. On October 5 (8:30 pm), director James Ivory will be the special guest at a screening of his film, A Room with A View, at the Odeon. Photographer Sarah Quill (October 4, 6 pm) will also be speaking about her experience on set as a part of the lecture series. The autumn cultural program, which is always centered on a specific theme, will derive inspiration from The Rolling Stones and The Beatles.

On September 26, the European Day of Languages, the British Institute will collaborate with the French, German, and Spanish Institutes. The emphasis this year is history, so there will be a focus on figures from each nation’s respective past. Prospective students will be invited to tour the schools and have the chance to win free language courses. A few days later, the Canottieri Rowing Club will host an event where guests can test their language skills, enjoy mini art history lessons, and experience a centenary-themed surprise.

Julia Race

With the celebrations, the director has noticed an increased awareness of the Institute and all it has to offer. “I think it’s introduced us and reminded people that we are here in Florence for everybody—native Florentines and Florentines by adoption alike,” Race says.

When comparing the mission of the Institute 100 years ago with its mission today, the aim has remained the same. “We are about the exchange between the two languages, and in this way, the B.I. is a home for everybody in Florence,” Race explains. People of all ages can enjoy the Library's multitude of diverse cultural offerings with memberships ranging from a day to a lifetime.

For details on upcoming events, visit www.britishinstitute.it.

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artists & artisans

PORTRAIT OF A STUDIO A Florence atelier carries forward sight-size tradition in painting by

Rosanna Cirigliano

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n a digital age, a humanistic approach is still apparent at the Charles H. Cecil Studios (Borgo San Frediano 68, Florence) where the sight-size method—viewing the canvas alongside the sitter from a distance to depict the subject in a proportion true to life—is taught.

Florence’s leading and oldest atelier, which has hosted artists since the 1820s—where Cecil as a painter opens up his studio to students—is a living theater of sight-size practice.

The philosophy underlying instruction at the Cecil Studios is that painting a portrait is a slow process that attains a depth of characterization by integrating many composite moments, not just one instant captured on film. The aim is to achieve a unity of impression.

“Sight-size is important to be able to catch the soul of the sitter,” says Cecil. “There is a depiction of a personality, emphasizing the human aspect.”

“This was the visual method used by Velázquez,” he continues. “Sight-size went underground for a century, but has now reemerged.” John Singer Sargent (18561925) practiced the technique; born in Florence of American parents, he was acclaimed worldwide for his portraiture. His friend Sir William Rothenstein recorded, “Sargent, when he painted the size of life, placed his canvas on a level with the model, walked back until canvas and sitter were equal before the eye, and was able to estimate the construction and values of his representation.”

Charles Cecil is key to carrying on the tradition, which he says “had a past but also has a future.” It is Cecil’s own past that has shaped the artist and teacher that he is today. Before earning a degree in the classics from Haverford College, a year abroad in Athens would change him forever. “It was not until this trip, when I fell in love with Greek sculpture, that I decided to dedicate my life to art,” says Cecil.

He began graduate school at Yale University in Art History, but felt a pull to Boston. There, Cecil studied under the painter R.H. Ives Gammell, who had been instructed in sight-size by William M. Paxton of the Boston School. He then received further training with Gammell’s former pupil Richard F. Lack in Minneapolis.

“Gammell gave me knowledge and experience based on the Old Masters, for free, with the assumption that I teach later in life,” says Cecil.

He kept that promise with the hope that his students would teach sight-size throughout the world.

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BP Portrait Award finalist Daisy Sims-Hildrich at work in the studio

With such time-honored training, perhaps it is not surprising that finalists from the Cecil Studios are annually represented in the BP Portrait Award competition at London’s National Portrait Gallery. Chosen from 2,500 applicants, all of Cecil’s protégés work from life in natural light.

“A sight-size portrait by a past or contemporary master is not a stylistic convention, nor is it static or photographic. It is characterized by a freedom of brushwork that comes into focus when observed from afar.”

“Rather than restrict artistry, it liberates individual expression,” he says.

views & interviews

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INTEGRATING PAST INTO THE PRESENT

by Shiri Gross photo Davood Madaphoor

An Italian professor, a U.S. university program director in Florence, is doing just that

Stefano Baldassari

F

or those who choose to spend their lives dedicated to academia, the expanse of knowledge obtainable through the words and thoughts of others appears infinite. In this regard, scholar Dr. Stefano Baldassari has been able to translate his passion for literature, language, and classical antiquity into his work as program director at ISI (International Studies Institute) Florence.

Born and raised in Genoa, he grew up, as many young Italian boys do, playing soccer and studying Greek and Latin. His parents recognized the value of challenging oneself to live in a different context, a different culture, and thus sent him on a year abroad in Florida. This experience ignited his interest in the United States and initiated his lifelong connection to the country.

After receiving two master’s degrees in addition to PhDs from Yale and the Università di Firenze and a fellowship at I Tatti, the Harvard University Center for Renaissance Studies, he entered into the field of teaching. Baldassarri spent years working for American study abroad programs, such as Georgetown and Pepperdine, and in the Italian school system. This path led him to

ISI Florence, where he started teaching Italian literature and eventually became the program director.

International Studies Institute Florence is a consortium of American universities: Pennsylvania State University, University of Connecticut, University of Virginia, Arizona State University, in addition to the University of Melbourne (Australia), located at both Palazzo Rucellai (Via della Vigna Nuova 18) and Palazzo Bargagli (Lungarno delle Grazie 22). Courses are provided in English, and no prior language study is required.

Baldassarri also organizes innovative conferences and events. He invites scholars from universities across the world to gather and speak about specific, unique topics, such as “Italy and Japan: Cultural Psychology and Art” or “Medieval Charm: Illustrated Manuscripts for Royal, Aristocratic and Ecclesiastical Patronage,” and has organized concerts and book presentations.

These events are free and open to the public, further expressing his belief regarding accessibility of education and art, music, and literature. “Culture is beautiful in the sense that it’s not exclusive,” he says.

With his background in cultural and academic experience on both sides of the Atlantic, Baldassarri brings other unique goals to his role in the institution. He is interested in exchange, the bidirectional flow of knowledge. ISI’s director is curious to hear the voices of others, perhaps a descendant of a Native American tribe or a young boy who grew up in rural Connecticut, commenting on the poetry of Dante.

According to him, there are undiscovered jewels still resting in ancient texts, which may only be recovered through gained accessibility and interpretation by a variety of minds.

For this reason, Baldassarri hopes to increase racial and socioeconomic diversity at ISI Florence. “I would like to provide opportunities for those who normally wouldn’t have the means to travel abroad to come add their perspectives to the mix,” he says.

Baldassarri believes this would not only benefit him as a scholar, but the community and school as a whole, challenging prior perceptions of people they had not had the opportunity to previously encounter in their daily lives.

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sports & fitness

BOATING DOWN THE RIVER Rowing, kayaking & historic recreational boat tours on the Arno

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he Arno flows through the heart of Florence, and it is evident in everyday conversations, names, and the city itself that the identity of Florentines is strongly tied to the river. The Arno has it has been a source of life and destruction for hundreds of years, from the textile industry in the Renaissance to the great flood in 1966. One can float down the river today thanks to the Società Canottieri Firenze, the Renaioli, and the Canottieri Comunali.

Between tourist season and not, the Arno is a gravitating force that attracts people. It is a meeting place and a refuge from the heat and the bustle of the city streets.

The boathouse of the Società Canottieri Firenze (www.canottierifirenze.it) is right on the river by the Uffizi Gallery. The center has a dock that juts out into the murky water and bright green lawns. Not only a rare sight, it is also a place designed for a community; there is a bar, an outdoor space for dinner events or for sunbathing, and a beautiful boathouse. It is a magical experience to row under the Ponte Vecchio and see old beams and stone construction close up.

I Renaioli (www.renaioli.it) in Piazza Mentana offer guided boat tours of the Arno River. The name comes from the profession in which men would collect sand and silt from the Arno for construction. This is no longer practiced; the company, however, has adopted the name with the intention of conserving the traditional method of navigating the river. While the majority of the fleet is

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Madeleine Greaves photo by Andrea Pistolesi by

new, the company has purchased and conserved some of the original boats from past centuries.

Like the Venetian gondolas, a man with a long pole pushes and steers the boat. One gentleman who steers the boats has been doing this job for 22 years, and it is evident he knows every inch of the river.

The tours are conducted both during the day and at night.

While it is easier to see the main landmarks in the daytime, the night outing is truly something special. Around 50 minutes long, it is both a relaxing boat ride and an educational activity. The boat glides through the black water gently as the guide tells the history of Florence with the river as protagonist.

The lights reflect brilliantly off of the water, resembling an impressionist painting. The boat is not lit itself, but the light from the bridges and streets provide visibility.

While Florence has many grand monuments, the importance and prominence of the Arno in Florentine life and culture is often overlooked. The excursion is a perfect way to fill in that gap of knowledge and gain a new perspective.

The Canottieri Comunali is a recreational boating center located in the San Niccolò neighborhood at Lungarno Ferrucci 4. The river is wider in this location: the banks are lined with greenery and cafés. There are runners and people walking their dogs. It is a more open and calm part of the river than near the Ponte Vecchio. The Canottieri Comunali offer a variety of activities such as kayaking, Dragon Boating, and rowing.

yesterday & today

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A FLORENTINE WORLD OF TEA

Afternoon tea, cream tea & at home tea in the city of the Renaissance by

Carson Cecil

photos courtesy of The Four Seasons & Davood Madaphoor

stop for those interested in taking home quality tea. Marcela notes that typical store-brand varieties only produce color and aroma when brewed. To trigger true flavor requires an authentic blend made by loving hands.

The Four Seasons

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offee dominates Italy; there is, however, a vibrant and budding Tea culture to discover. Whether seeking an authentic, English afternoon tea experience, or a spot to soothe the soul and warm the heart, Florence offers it all.

FOUR SEASONS HOTEL Located in a centuries-old Tuscan palazzo, the Atrium Bar at the Four Seasons Hotel provides an afternoon tea experience also open to the public. This elegant lounge sits beneath a massive skylight, allowing the golden rays of dusk to bathe the room in a warm light. The tea selection ranges from white, black, green, oolong, and scented.

Only at the Florence location can two exclusive teas be found, a favorite being the Giardino della Conventino. This medium-body blend is light but powerful, with tastes of figs and rose blossoms. Finger sandwiches, authentic scones served with mascarpone cream and strawberry preserves, sweets such as macarons, and a rich chocolate mousse tart accompany the “classic afternoon tea.” During the holidays, the Four Seasons serves special “Natalizie” (Christmas) teas to celebrate the season.

After tea, do not forget a stroll through the Giardino della Gherardesca, one of the most beautiful private gardens in the city.

TEALICIOUS Established by the charming Marcela Viviana Esteban, a widely recognized expert of all things tea, Tealicious aims to set a new standard for tea consumption in Italy. Using the freshest of organic ingredients, Marcela applies her extensive knowledge from years of research to personally craft her products.

She combines traditional methods of preparation with progressive ideas to create an array of bold flavors and blends. La Primavera stands out on the menu for its infusion of sweet cherries, rose petal, and mint. As winter approaches, Fresh Hotness will keep one warm with its smoky demeanor.

Keep in mind, however, that the shop does not function as a café; dry tea blends are only sold here, not consumed.

Located at Via Romana 26/r just minutes away from the Boboli Gardens, Tealicious is a highly recommended

ST. REGIS HOTEL For a luxurious afternoon tea, look no further than the St. Regis Hotel in Piazza Ognissanti. Offered daily to the public in the Winter Garden Bar, this €22 Tea Ritual will leave visitors feeling like royalty. A Tea Sommelier guides guests through the experience, answering all questions while providing perceptive assistance. The St. Regis has partnered with Dammann Frères to ensure that only world-class tea is served.

The menu offers enough choice to find the taste that best suits the individual without being overly extensive.

Complete with a beautiful china set and unique timers to measure the perfect steep, the Tea Ritual is a delight from the moment the aroma reaches the nose. Select the Florence Exclusive Signature Blend for a sweet and lasting impression, where maraschino cherries shine through caramel undertones. For something a little lighter, the Passion De Fleurs is the epitome of a delicate white tea, both sweet and subtle.

The Lapsang Souchong will reveal earthy tones beneath a smoky body.

Tea is served with sandwiches, Italian pastries, and treats, such as soft fudge St. Regis

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yesterday & today brownies and warm scones to be dressed with honey, whipped cream, and fresh jams. This is a perfect stop while admiring the views along the Arno.

MAGO MERLINO TEA HOUSE Founded in 1977, Rocco Raffaele Jacopini has been the proprietor of Mago Merlino Tea House on via dei Pilastri 31/r, the oldest specialty tea house in Florence, for 40 years. He is the mastermind behind some of the best tea the city has to offer.

A popular spot for young travelers, writers, and artists alike, this Middle Eastern-inspired tearoom offers the perfect respite from the bustle of daily life.

The warmly lit premises host poetry readings and bands throughout fall and winter, and have a private lounge room for larger parties. A collection of Yixing clay pots adorns the colorful walls.

A peek into the kitchen is enough to recognize the knowledge and devotion poured from every teapot. A myriad of glass jars line the shelves, filled with organic ingredients to craft unique and quality blends. Refreshing iced concoctions

Mago Merlino Tea House

include ingredients such as cinnamon, cloves, rose buds, lemon grass, oranges, fresh mint, chai, and much more.

Mineral water is used to steep the tea to create distinct “tea cocktails,” served alongside a selection of handcrafted vegan cookies. For first timers, the “Elisir,” or “Liquid Dream,” is a must try when relaxing in the tranquil atmosphere that Rocco has cultivated.

PETER’S TEAHOUSE Peter’s Teahouse is a northern Italian chain with a vast selection of tea from which to choose. A retail store that specializes in a café lifestyle, this shop also offers coffee blends and accessories such as cups, mugs, teapots, and coffeemakers. This is a great spot for gift ideas, but the heart of the business lies in tea for sale.

Organic ingredients farmed globally compose the blends. Their aroma permeates the air of the Florence location on via dei Fossi 57/r, enticing customers to smell the jars that line the walls in wooden cubbies. The staff is friendly and more than willing to give guidance and suggestions to less avid tea drinkers.

While more exotic teas may be found here, the most popular is the Earl Grey.

This iconic flavor is easily recognizable, but Peter’s does a remarkable job in capturing the quintessential bergamot taste. This is the place for affordable prices and a convenient experience.

LA VIA DEL TÈ Perhaps Florence’s most well known teahouse, La Via del Tè provides a welcoming answer to any tea need. Pop in and pick up high quality blends for home use, or relax in their tearoom and be treated to a fresh cup served in elegant white porcelain. Situated next to the buzzing Sant’Ambrogio Market in Piazza Ghiberti, it comes as no surprise that the quality of ingredients at La Via del Tè matches that of the fresh produce sold around it. Other businesses on this list may offer a more luxurious experience, but here can be found an honest and easygoing atmosphere that can make any evening slip away with the right pot of tea.

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sightseeing

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FOLLOWING IN LUCA DELLA ROBBIA’S FOOTSTEPS A tour of the Renaissance master’s works throughout Florence Elizabeth Wicks photo courtesy of the Opera del Duomo by

T

hanks to the technique of enameled terracotta that he is credited with inventing, Luca Della Robbia can well be claimed as the most popular artist of the early Italian Renaissance. He and generations of his descendants made works in glazed terracotta virtually ubiquitous.

Though Luca is remembered best for terracotta, he received his early training as a goldsmith, and was originally a master sculptor in bronze and marble. Because he worked almost exclusively for and in the city of Florence, visitors can follow a Della Robbia itinerary in the city that encompasses the full sweep of his career and artistic development.

OPERA DEL DUOMO MUSEUM Born right at the turn of the century in 1399 or 1400 to a well-placed family of wool merchants, Luca was already an accomplished marble sculptor when he won the 1431 commission for the cantoria (choir stall, or organ loft) in Florence’s Cathedral, now in the Opera del Duomo Museum.

The 10 much-loved reliefs of music-making angels are placed within a classical architectural superstructure. The idealized serenity of these angelic musicians is combined with keen observation and studies from life.

Accounts handed down to us and the tangible fruits of his career suggest Luca was a man of industrious, upright, pious, and above all, refined character, and such qualities are communicated in the cantoria.

Other masterpieces by Luca now in the Duomo Museum attest to his early training in metalwork—they include a small gold crucifix and statues from the enormous silver altar originally made for the Baptistery.

Details of Luca della Robbia’s choir stall

FLORENCE CATHEDRAL In the decade when the cantoria was created, Luca made his first experiments with glazed terracotta. His first work wholly in enameled terracotta is the large lunette of the Resurrection (1442) in the Cathedral.

Designed to go below his cantoria, it still occupies its original location over the door

leading to the Cathedral ‘s north sacristy. In 1446, he made a second lunette of the Ascension to go above the south sacristy door, below Donatello’s cantoria.

The catalyst for the invention of Luca’s technique may have been the need for colorful and luminous effects. The completion of Filippo Brunelleschi’s cathedral

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sightseeing dome was cause for great celebration, but also, no doubt, for consternation at how suddenly dark the liturgical heart of the building, formerly open to the sky, had become. Luca’s lustrous lunettes and the flickering mosaic of Donatello’s cantoria attest to the desire to add more color and light to the decoration of the Cathedral crossing.

In the Resurrection lunette, a two-color scheme of white for the figures and azure for the background is employed, while in the later Ascension, green is added for landscape details. The fact that Brunelleschi signed the contract with Luca for the Resurrection has modern scholars theorizing that Luca’s invention came about thanks to a collaborative effort. In 1446, for the Canons Sacristy in the Cathedral, the artist created the first ever Renaissance glazed terracotta statues completely in the round: two magnificent kneeling angels holding large ceremonial candles.

BASILICA OF SANTA CROCE In the same year, Luca began what may have been a decade of work on the apostle roundels (tondi) for the ceiling

of Brunelleschi’s Pazzi Chapel at Santa Croce. In this collaboration with Brunelleschi, Della Robbia proves his exceptional inventiveness and naturalism in the broad variety of poses, gestures, and psychological states that he conveys in 13 reliefs of the apostles (Andrew, patron of the chapel, is represented twice).

The cupola of the Pazzi Chapel portico is his work of a later date. Here, yellow, red, and violet accents are added to the chapel color scheme in the geometric and floral motifs.

SAN MINIATO AL MONTE As time passed, Luca’s style became less classical as seen in the Chapel of the Cardinal of Portugal (1461-62), characterized by color, rich pattern and opulent effect.

Here, he collaborated with Antonio Rossellino, Alessio Baldovinetti, and Antonio and Piero Pollaiuolo, artists of less minimalist tendencies than Brunelleschi.

Luca’s contribution to the chapel, which is the yellow, purple, and green cube-patterned ceiling with inset roundels of the cardinal virtues (Prudence, Fortitude, Temperance, and Justice), is decidedly

different from the restrained harmonies of the Pazzi Chapel, and has a strikingly modern aspect.

CHURCH OF SANTA TRINITA Luca’s smaller-scale Florentine works are equally impressive; in reduced scope, they offer all the astonishingly fresh, naturalistic, and brilliantly polychromatic qualities of his art. The first is the tomb of Antonio Federighi, Bishop of Fiesole, completed in 1456, originally for the church of San Pancrazio. Now positioned low on the wall in the left transept of the Church of Santa Trinita, the Federighi monument offers the opportunity to get up close to one of Luca’s most exuberant and yet tightly controlled designs.

The bishop’s marble effigy is surrounded by an almost square frame of lozenges with botanical motifs, each of brilliant color. In this work, Luca employs an exceptional pieced mosaic-like technique and equally exceptional gold background. The palm and olive branches, pink roses, lilies, pomegranates, pine, fir and cedar cones, and various field flowers are depicted with remarkable accuracy and recall the vivid details in the frame of Ghiberti’s north Baptistery door.

INNOCENTI MUSEUM Another exquisite piece is Luca’s Madonna and Child, located in the former Foundling Hospital building designed by his old friend Brunelleschi. Made for the small church of the women’s section of the orphanage where the girl orphans attended mass, this tender image of mother and child portrays the infant Jesus holding up the inscription “Ego Sum Lux Mundi” (I am the Light of the World). The sparkling white glaze of the statue enforces the idea of luminosity; only Mary’s eyes and the base are in azure blue.

BARGELLO NATIONAL SCULPTURE MUSEUM At times designed to be replicated to satisfy an ever-growing clientele, Luca’s religious reliefs occupied him throughout his long career. Many of these pieces are visible in the Della Robbia section at the Bargello Museum. They remind us clearly of what Luca did best: interpret the life around him with the eye of a true naturalist. Like all of his works, these compositions “evince a tenderness and a compassion that sounds a responsive chord in all of us” ( John Pope Hennessy).

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displays & shows

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DELLA ROBBIA’S COOL WARMTH IN PISTOIA A restored Renaissance masterpiece returns to a new venue in Tuscany after a U.S. tour by

Elizabeth Wicks

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uca della Robbia’s monumental sculpture The Visitation is on view in a beautiful free exhibition at Pistoia’s church of San Leone. The event marks the work’s return home from a triumphal U.S. tour at Boston’s Museum of Fine Arts and the National Gallery in Washington D.C., which jointly sponsored its recent research and restoration.

The 19th-century art historian Walter Pater likened Della Robbia’s glazed terracottas to fragments of the milky sky itself, falling into the cool street, and breaking into darkened churches. Visitors can experience this feeling, as well as the vivid emotions expressed in Luca’s vision.

Unlike many other versions of the Visitation, which portrays both figures standing, in Luca della Robbia’s creation the older Elizabeth, about to become the mother of John the Baptist, kneels before her cousin, the young and pregnant Mary. The women gaze intensely into the other’s eyes as they meet and hold each other.

Mary’s face has a tender, caring look as she bends her head toward the strong, realistically wrinkled face of Elizabeth. The only color – the blue eyes of the women – contrasts with the brilliant white glaze of the rest.

Show curator, art historian Maria Cristina Masdea, calls the Della Robbia Visitation “one of the greatest artistic masterpieces of all time,” which “continues to communicate with those who pause before it, even just for a moment, to observe the affectionate embrace between Mary and Elizabeth.”

The Visitation, made for Pistoia’s church of San Giovanni

Fuoricivitas before 1445, is considered the earliest large freestanding statue group in glazed terracotta, a new technique originated by the artist, who was not only the first, but was its most expressive (and impressive) exponent. Luca’s extraordinary invention helped earn him a place in 15th-century art theorist Leon Battista Alberti’s roster of the five greats who ushered in the early Italian Renaissance (the others are Brunelleschi, Donatello, Ghiberti, and Masaccio).

The immediate appeal of the startling vivid enameled terracottas, their easy transportability, and lesser cost in comparison with marble or metal made them extremely popular during the 15th century. The success of his workshop led to the founding of a Della Robbia dynasty that continued into the 16th century and beyond through Luca’s nephew Andrea and his descendants, as well as through other artists and a widespread trade in high-quality casts and reproductions.

Luca’s experiments with such large terracotta pieces led to some technical errors, such as cracking during the firing process, which were later corrected. The recent restoration of Visitation sculptures, each of which is composed of two parts, was carried out in Florence at the Opificio delle Pietre Dure.

In the current show, the group is placed on a well-lit pedestal toward the back of the church so one can walk around them and experience the intense spirituality of the figures from all angles.

The lovely Rococo frescoes in the church by Florentine artist Vincenzo Meucci were also restored.

Luca Della Robbia’s Visitation will be on display through January 7 at the Church of San Leone, Piazza San Leone, Pistoia. Free admission. Hours: 10 am to 7 pm through October; 10 am to 5 pm November – January.

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centerfield

A CITY OF THE PAST AND FOR THE FUTURE PISTOIA, ONE OF ITALY’S TOP 10 CITIES TO VISIT

by

Rita Kungel Andrea Pistolesi

photo by

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O

ften eclipsed by its more famous neighbors in Tuscany, the moment has come for Pistoia, awarded the distinction of “2017 Italian Capital of Culture,” to shine.

Located in the vicinity of the Ombrone River, the Lonely Planet travel guide, in fact, recently listed Pistoia, with its squares, majestic churches, green spaces, museums, and history, as one of the top 10 cities to visit.

For its year in the limelight, the city offers a multitude of events; for the complete program, visit www.pistoia17.it.

Major attractions—the Civic Museum, Palazzo Fabioni, Marino Marini Museum, and the Museum of Health—offer free admission for the remainder of 2017.

VISIT PISTOIA For the optimum appreciation of the Capital of Culture, wear comfortable footgear and walk through the historic district.

Follow the three sets of walls that encircle the city, added with expanded growth through the centuries. Stroll through the lively Piazza della Sala, filled with stalls selling the freshest fruits, vegetables, and other products. In summer and early fall, look for succulent wild berries harvested by hand from the nearby Apennine mountains. Be sure to acknowledge Il Marzocco, a crouching stone lion perched on a medieval well guarding the square.

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Restaurants and cafés abound proudly serve local specialties. Try some creamy pecorino cheese made from the milk of sheep grazing on nearby hillsides, and locally cured meats pair nicely with the salt-less Tuscan bread. Keep an eye out for roasted chestnuts from nearby forests.

Discover cialde, a sweet, crispy, thin wafer sandwiched with a layer of almonds, sugar, and vanilla.

Pistoia, a small city that spends twice the national average promoting and supporting its cultural heritage, invites visitors to explore, see, hear, taste, and marvel at its abundance of treasures, and maybe experience some surprises.

SACRED PLACES Treasures and art masterpieces waiting to be discovered are abound in the churches of Pistoia.

The Cathedral of San Zeno, a 10th-century Romanesque church with a façade of locally quarried green and white marble, stands in the center of Piazza del Duomo.

Inside, one can view the altar of St. James, a masterpiece in silver, with 628 figures in scenes from the life of the saint. Flanked by a stately bell tower, the cathedral complex also includes the octagonal Baptistery of San Giovanni. For an outstanding view of the city, the visitor with strong legs and heart can climb the 67 meters (220 ft.) to the very top of the bell tower.

Next to the cathedral, the Bishop’s Palace and Museum display artifacts from Pistoia’s religious history, comprising rich vestments and holy vessels. Be sure to see the “Millefleurs,” a 16th-century Flemish tapestry covered with flowers, plants, and animals symbolic of the life of Christ.

A guided tour of the basement reveals the archeological history of the area with remnants of an ancient Roman floor and Etruscan funerary monuments.

Pistoia’s most prized artistic treasure, found in the Church of Sant’Andrea, is Giovanni Pisano’s 13th-century pulpit carved from one piece of marble. By inserting a coin to light up the masterpiece, scenes of the Nativity, the Massacre of the Innocents, and the Crucifixion come alive.

THE HEART AND SOUL OF PISTOIA Piazza del Duomo, a pedestrian-only zone, encompasses the religious, historical, judicial, and political center of Pistoia. On market days—Wednesday and Saturday— the piazza is host to stalls selling produce, bread, cheeses and salamis, clothing, handicrafts, and household items.

In July, Piazza del Duomo serves as the venue for the renowned Pistoia Blues Festival. The dynamic music of Sting, John Mayall, Carlos Santana, and Damien Rice has filled the square in recent years.

On July 25, the Feast of St. James, the piazza is transformed into a racetrack for

the annual Giostra del Orso, or Joust of the Bear. Spectators, transported back to medieval times, watch as a parade of knights, musicians, lords, and ladies, dressed in historic costume, begins the celebration.

Trumpets and drums herald the arrival of the knights on horseback representing the four districts of the city. After a blessing by the bishop, they compete to determine who can most precisely spear an effigy of a bear, with the winner earning the coveted palio (painted banner).

21ST CENTURY ART IN A 14TH CENTURY PALACE The Palazzo Fabroni lies in the historical center of Pistoia. Once the home of the wealthy, noble Dondori family, with landscaped gardens and tower, the building now houses a center for contemporary visual art.

A permanent collection showcases Pistoiese artists as well as contemporary works by internationally known artists such as Giorgio de Chirico, Jannis Kounellis, and Andy Warhol (www.palazzofabroni.it).

“CUTTING EDGE” MEDICINE FOR EIGHT CENTURIES One of the oldest medical schools in Europe is located within the Ospedale del Ceppo, founded in the 13th century. Here, doctors developed new surgical techniques in the 18th century and invented the scalpel called the Pistorino knife. The domed

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centerfield and frescoed surgery hall, featuring operating tables carved of Carrara marble, contain double rows of benches where medical students sat. One can imagine the rapt interns observing as professors used the latest techniques to discern the origin of an ailment.

The artistic jewel of the hospital is its façade with a glazed ceramic frieze above the loggia, portraying the “seven works of mercy.” Artist Santi Buglioni vividly colored terracotta panels depicting each one: accommodating pilgrims, curing the sick, clothing the naked, feeding the hungry, burying the dead, visiting prisoners, and offering drink to the thirsty.

Tondos by Giovanni della Robbia depict the Madonna, the Annunciation, and the Medici coat of arms. Until 2013, the medieval hospital still housed the sick, and the high-ceilinged entrance hall served as the appointment desk for Pistoia’s modern patients.

From the hospital, one descends down to “Underground Pistoia,” a 650-meter journey exploring the local history. The subterranean labyrinth winds along a former riverbed beneath the city. A huge wooden mill wheel, used to extract olive oil used by the hospital, remains quite intact, and another mill used river water to power the iron forge that made tools.

Large underground tubs were employed to wash bed linens and clothing. The water

used for laundry came from the same river where the hospital dumped disease-contaminated items, which caused a chain of infection and epidemics to ensue. Today, the subterranean space hosts regular Tibetan bell concerts.

The one-hour guided tour includes both the operating theater of the Ospedale di Ceppo and Underground Pistoia (available from 10 am to 6 pm, admission: €9).

CITY OF ORGANS Another discovery is Pistoia’s numerous fine organs. In the 17th century, Willem Hermans from Flanders constructed a magnificent organ in the church of Santo Spirito. Influenced by the Flemish organ builder, local families Agati and Tronci constructed organs for several generations that were exported all over the world, including Latin America, the Middle East, France, and Corsica. In 1993, Empress Michiko of Japan, a trained musician, visited Pistoia and stunned her hosts when she played a remarkable rendition of Ave Maria on the organ in the Palazzo Comunale (City Hall).

Many local churches house fine organs, including Santo Spirito, which contains two—the Hermans 17th-century masterpiece, as well as a Ghilardi organ created in 2008. To experience the rich timbre of the pipes, the Accademia Internazionale d’Organo sponsors

like an Italian Chef! k o o to C n r Lea Full range of classes Bread, pasta & pastries, main courses, cake design, barista & more

GUSTAR - Pistoia www.gustar.it

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regular vespers concerts in local churches (see www.accademiagherardeschi.it).

THE MARINO MARINI FOUNDATION Pistoia’s most famous modern resident, sculptor Marino Marini, created works showcasing equestrians, goddesses, and circus characters. A contemporary of Alexander Calder, Alberto Giacometti, and Henry Moore, Marini drew on ancient mythological images to produce a near-abstract modernistic style striving to “capture the inner spirit” of his subjects.

The foundation contains a rich collection of Marini’s works on several levels, as well as providing visitors with a glimpse of the artist’s personal life and his creative journey.

The museum also comprises an interactive children’s section with an ongoing program for children ages three and above to create and experience art. Situated outside, a peaceful garden café beckons visitors to stop in for lunch or a drink.

FROM FACTORY TO LIBRARY For more than 120 years, Pistoia’s main economic resource, the AnsaldoBreda Company, employed many residents in the manufacturing of steam locomotives, railway cars, locomotives, and driverless metro cars ordered by public transport systems in Milan, Athens, Los Angeles, Washington D.C., and Atlanta. When the company was sold and manufacturing was divided among four other cities, the dilapidated former factory became an eyesore.

In 2000, city leaders conceived a new use for the abandoned plant, inaugurating the San Giorgio Library in an effort to revitalize the industrial area. Today the space not only features a library, but an art exhibit hall, two cinema halls, conference rooms, classrooms, a children’s area, and a café.

The American Corner, a space for info on American history, study opportunities in the U.S., support for learning English, and a digital innovation center invites visitors to use its 3D printer or create an app.

On a recent afternoon, tables in the large atrium were filled with students on laptops studying for exams while nearby children read fairytales and adults took classes in computer literacy.

One could say the San Giorgio Library best embodies Pistoia’s efforts to make the leap from a city of the past to a city for the future.

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displays & shows

MARINI’S BODY OF LIFE A retrospective honors an international sculptor’s tribute to humanity by

Rita Kungel

photo courtesy of

P

Studio Esseci

istoia’s Marino Marini Foundation presents the special exhibition Marino Marini: Visual Passions in Palazzo Fabroni. The art show, depicting the evolution of Marini’s creations from the 1920s through the 1960s is one of the highlights of the celebrations of Pistoia, Italian Capital of Culture 2017.

Born and raised in Pistoia, sculptor Marino Marini (19011980) also resided in Florence, Milan, Switzerland, Paris, and New York City in his lifetime, but maintained that his heart and soul were Pistoiese.

The Tau Chapel, a deconsecrated church next door to the Marini Foundation, (open 8:15 am to 1:30 pm daily), provides the visitor a stunning glimpse of art through the ages. The walls and ceiling are covered with 14th century frescoes depicting Biblical stories, while Marini’s 20th century sculptures sit on special pedestals below.

A sensitive man, he experienced anxiety for the human condition, intensified by seeing the devastating effects of World War II on his fellow Italians. In 1943, after bombing destroyed his studio, he went into exile in Switzerland for the remaining war years, returning to Italy only in 1946.

Marini’s most well known sculptures depict horses and riders, which he believed explained “the whole history of humanity and nature,” ultimately symbolizing man’s declining relationship with nature. During his career, the riders became progressively less in control of their mounts, representing human tragedy and nature’s unrestrained force.

Another favored subject is Pomona, an Etruscan goddess of fertility, gardens, and orchards, symbolizing peace, harmony, and Mother Nature. The full, sensual bodies of the Pomona convey strength and passion to the onlooker. When an art critic described Marini as being inspired by Etruscan culture, he asserted, “I am not inspired by Etruscan art—I am Etruscan.”

At one point, Marini concentrated his attention on the male nude, a number of which are exhibited in “Visual Passions,” inviting a comparison with works on the same theme by Arturo Martini and Giacomo Manzù.

Displaying the artist’s works with examples of statues of ages past—Egyptian, Greek, Etruscan, Renaissance, and 19th century—allows the viewer to appreciate how he and other great sculptors of his generation consciously revived these works. One room contains his early busts alongside Etruscan heads from the 5th century BC, while another displays his 1929 terracotta “Il Popolo” with an ancient Greek head from Selinunte in Sicily.

In the 1930s, Marini rediscovered the sculptural portrait by sourcing ancient Egyptian art, and during his time in Switzerland, he took inspiration from Donatello. In the postwar period, the artist’s style became more abstract, with the theme of horse and rider juxtaposed with horses and knights from past civilizations of the Mediterranean and ancient China.

The retrospective travels to Venice’s Peggy Guggenheim Collection in early 2018.

MARINO MARINI: VISUAL PASSIONS Until January 7, 2018 Palazzo Fabroni, Pistoia Open 10 am – 6 pm Tues. - Sat., 2:30 – 7:30 pm Sunday www.palazzofabroni.it/www.fondazionemarinomarini.it

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higher learning

BACK TO NATURE by

Martha Gonzalez

additional reporting by

Sheean Hanlan

A nursery filled with surprises, from a park to learning opportunities

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annucci Piante took its own nursery and combined it with a park to bring forth Europe’s first park nursery campus within one of the largest spaces in the world dedicated to growing ornamental plants. The firm, which was founded in 1938 by Vannino Vannucci, has 530 hectares of plants and exports to 54 countries around the world.

The grounds, however, serve much more than a museum of botanical beauty; they are a stage for a dialogue involving education, research and sustainability. The staff of the Pistoia Nursery Park takes pride in the center’s commitment to environmental quality and deep-rooted dedication to bringing out the best in nature and follows a stringent code of ethics in daily gardening practices.

The park showcases the company’s trees, which display attention to quality production, spread throughout a large area adjacent to the Pistoia Nursery Campus. One can follow a path from the campus entrance that winds through a field filled with trees of all sizes—ranging from olives and cypresses to magnolias, bonsai and others— in larger containers.

Some are even 300 years old.

At night, the Pistoia Nursery Park takes on a whole new atmosphere as scenic lights designed by iGuzzini showcase the trees and the topiary gardens containing plants clipped into ornamental shapes—create an almost-theatrical effect. The nursery welcomes colleagues interested in landscaping and gardening to drop by for a tour, available by appointment by sending an email to info@nurserycampus.it.

Other ways to see the park is by staying in the new and modern bed and breakfast or by simply dropping by for lunch in the restaurant specializing in traditional Tuscan dishes (open 12:30 – 2:30 pm Monday through Friday).

For those interested in research, innovation, and training in landscape planning and architecture, sustainable nursery development, nursery management, irrigation or the different typologies of techniques such as vertical and roof gardens, the Pistoia Nursery Campus offers classes on these topics and many more ranging from one day courses to six month programs.

Whether looking to better get to know the Pistoia Nursery Campus through a stroll in a park comprised of the diverse varieties of trees or looking to take some knowledge home, don’t miss this unique place while visiting Pistoia. For reservations or to make an appointment, please see www.pistoianurserypark.it.

views & interviews

T USCANY’ S C ULT U RA L GU I D E

FLUENCY AND FRIENDSHIP Integration vs. isolation: an U.S. university in Florence chose the former in a groundbreaking experiment

by

Rosanna Cirigliano Davood Madaphoor

photo by

Elizabeth Whatley

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nce upon a time, young Americans came to Italy to study the language, art and art history, and Italian studies in general. No more. As part of a fast-growing trend, close to half of the U.S. students arriving in Florence are not affiliated with their home campus, but instead attend school at an Italian campus where they can earn transfer credit.

Close to 10,000 American students annually arrive in Florence, as well as Arezzo, Siena, Cortona, and Castiglion Fiorentino in September. Some live, study, and have their meals on campus, like those at NYU, Georgetown University, Harding, and Pepperdine.

A minority of more than 20+ American schools with Florence-based campuses utilizes the live-in arrangement. Alternatively, students are placed with families (Smith), live in a dorm (Florida State), or with other students in apartments (California State). The latter option can contribute to isolating U.S. students.

The Pepperdine Florence campus offers another scenario to sophomores studying abroad exclusively from the home campus in Malibu. Fluency and friendship is a main goal of the local, one or two-semester Pepperdine program.

“Twenty years ago, the American student bubble did not exist,” says Pepperdine director Elizabeth Whatley. “It is part of the globalization process. It is important for our students to immerse themselves into Italian life to learn as much about it as possible. Italy is a family-based culture, and that’s where we work to facilitate integration.”

Fifteen years ago, Pepperdine Florence started the “Big Brother-Big Sister” initiative. During both semesters, students teach English to Italian children or help them with their English skills through games and other activities for two hours weekly over an eight-month period. A short time later came “Adopt-a-Family,” where the students can create friendship by speaking both English and Italian at regularly scheduled dinners with Italian families and have the opportunity to go on outings with them.

Second semester, Pepperdine students have the option of volunteering on the Fratellanza Militare ambulance service or at a rest home for the elderly.

Italian students are also part of the intensive Italian language course, accompanying their American counterparts to local supermarkets, libraries, and literary cafés such as Le Oblate, in addition to fashion

and artisan workshops. The experience is set up so it is exclusively in Italian.

There is also the Listening Summit, involving Pepperdine and Italian students, established in 2012. Held annually every October at Gargonza Castle, the philosophy of the Summit is that “the best way to understand people is to listen to them,” and includes talks, small group sessions, and final presentations.

Previous Listening Summits were centered on guest speakers and subjects such as the European Union, Italian and U.S. political systems, the Information Age of the Internet, in addition to international law and the Middle East. One of the 2017 topics examined will be the challenge of finding employment in the U.S. versus Italy after college graduation.

The aim is always to create a comparison of different perspectives leading to greater knowledge and an exchange of opinion. It also provides an opportunity to experience intercultural understanding and communication while learning to work with peers from another country.

“Our students must take away with them the gift of Florentine friends and the knowledge of what is like to really live in Florence,” says Whatley.

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buon appetito!

TODAY & YESTERDAY AT GILDA’S CREATIVE TABLE A restaurant like none other in Florence, near Sant’Ambrogio

The 'Giotto' burger

by

Jennifer Klammer photos by Freida Aguilar

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ilda is a comfortable yet elegant family-run restaurant offering only the best gourmet Italian dishes since 2001, with all ingredients selected daily from the adjacent Sant’Ambrogio Market. Gilda and her son William, who strive to maintain a home-cooked meal atmosphere, run it. Its history is alive and vibrant thanks to many creative recipes, as well as customers acquired over the years who return again and again.

Design choices highlight a distinctive essence. Classic Italian trattoria influences are reflected in the décor’s paneling from the 1930s. The cheery and intimate ambiance includes just six tables inside and several on an outdoor patio. Each is set with a haphazard quirkiness that exudes charm. Every tablecloth—of lace embroidery or linen—is unique, and no glass, plate, or place setting—all vintage—is alike.

William writes out the menu daily by hand because it is different every time. Guests are greeted with a complimentary glass of Prosecco and a small serving of the specialty of the day, such as sformato, a crust-less vegetable quiche.

First courses—subject to change—range from black squid ink tagliatelle or small orechiette with a delectable black olive sauce to creative gnocchi made of spinach, broccoli, and a touch of spice.

Pasta can be topped with homemade pesto and salted ricotta or porcini mushrooms and herbs. Savory tortelli (stuffed pasta) are filled with shrimp, served with a light tomato-based sauce and scampi.

There are a variety of main dishes, such as a lightly sautéed duck with greens; although rare and served almost like a beef tartare, it is

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both tender and flavorful. The roast pork is unexpectedly delicate, a quality heightened by the light honey glaze. The tasty tagliata di manzo consists of pieces of bite-sized Florentine steak on greens.

The one burger on Gilda’s menu is the best in Florence; made from filet of beef and topped with a fresh, yet slightly smoked buffalo milk cheese, it comes with a swirl of homemade mayonnaise on the plate.

As a side, spinach and the oven roast potatoes are highly recommended. Sautéed with a touch of garlic, the spinach is so fresh that it seems as if it were picked that very morning.

A large dessert selection, ranging from cakes, trifles, fruit, and Sicilian specialties, includes an authentic cassata, layered with ricotta. The lemon cake’s rich cream is delectable. The cake pairs perfectly with their house coffee, sourced from Ethiopia, and the combo is a relaxing way to end a dinner.

Gilda, William, and their staff are very kind and prompt to interact with customers, who are made to feel as if they are part of the family as guests in their “home.” The restaurant attracts regulars, who are greeted on a first name basis. Gilda is a Florentine gem, and the proprietor always welcomes new and returning guests with open arms and an open table.

GILDA BISTROT Piazza Lorenzo Ghiberti 40/r, Florence Tel. 055/234 3885 Open from 8 am to 3:30 pm for breakfast, then lunch, reopens at 6 pm for aperitivo, dinner until 11 pm. Closed Sunday.

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Orchestra della Toscana

A HARVEST OF MUSIC Upcoming classical evenings in Florence and Pisa

by

Anne Lokken

S

ure to please the aficionado and the general public alike, the autumn season is lively with a creative and wide range of offerings.

ANIMA MUNDI For the final concert of the 2017 Anima Mundi Sacred Music Festival on Friday, October 6, the Cathedral of Pisa will be the evocative setting for a concert in celebration of the 450th birthday of Claudio Monteverdi. Sir John Eliot Gardiner, a key figure in the early music revival of the past five decades, will conduct his ensembles, the Monteverdi Choir and the English Baroque Soloists, in a performance of Monteverdi’s Vespro della Beata Vergine.

Composed in 1610 while he was working at the court of the Duke of Mantua, it is a monumental work of religious music. Monteverdi was a musical pioneer for his time, and used different styles for setting diverse texts, including the new theatrical style upon which the musical form of opera was based. The concert begins at 8:30 pm, but at 8 pm the audience will be welcomed by a brass fanfare from the Leaning Tower. For more info, visit www.opapisa. it/en/multimedia-en/news/anima-mundi-2017-17th-edition/.

ORT On September 28 and 29, the Orchestra della Toscana will conclude its summer season with two concerts in the Cenacolo (refectory) of the Santa Croce basilica. Actress and musician Anna Fusek, born in Prague in 1981, will lead and solo in a concert of music from the Baroque and Classical periods, performing on the recorder and piano. The audience will be able to admire a large painting of the Last Supper by Giorgio Vasari from 1546, which was submerged in water and mud for 12 hours during the 1966

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music & dance flood of Florence and recently restored.

The 2017-18 ORT program will inaugurate with a concert of Russian works, featuring Daniele Rustioni on the podium of the Teatro Verdi on October 28. The evening’s soloist is international prizewinner Roman Simović, who will begin with Prokofiev’s Concerto n. 1 for violin and orchestra, op. 19 (premiered in 1923) and Ravel’s virtuosic Tzigane (1924), inspired by Hungarian folk tunes. The second half of the concert includes the Polovetsian Dances

by Alexander Borodin from his unfinished opera Prince Igor and the Firebird Suite (1919) by Igor Stravinsky.

Considered Stravinsky’s breakthrough work, it was an immediate success, and the beginning of his collaboration with Diaghilev and the Ballets Russe. Students from Florence’s Cherubini Music Conservatory will play with the orchestra. A repeat performance will be held in Poggibonsi at the Teatro Politeama on October 31. For details see www.orchestradellatoscana.it.

MAGGIO MUSICALE FIORENTINO In the sumptuous Sala Bianca of the Palazzo Pitti, the Maggio Musicale

Orchestra will interpret a Mozart Cycle.

When the House of the Habsburg-Lorraine took possession of the palace in 1765, stucco artists decorated the great hall in a neoclassical style and the decision was made to leave it pristinely white, complemented only by large mirrors and 11 crystal chandeliers. It is a perfect setting to hear music from the Classical period.

Florence’s own Federico Maria Sardelli will conduct Mozart Symphonies n.

11 and n. 25 and works by Carl Philipp Emanuel Bach, Henri-Joseph Rigel, and Frederick II of Hohenzollern, who was the King of Prussia from 1740 - 1786, in three concerts on October 3, 5 and 7. The cycle continues with performances conducted by Nicola Valentini (Oct. 4 and 6), Enrico Onofri (Nov. 8 and 10), and Paul Agnew (Nov. 9 and 11), all with programs of lesser-known works by Mozart and his contemporaries. Recitals begin at 5 pm; admission is €15.

A new production of Giacomo Puccini’s La Rondine (The Swallow) will be presented on October 17, 20, 22, and 25, conducted by Valerio Galli at the modern Opera di Firenze theatre. This rarely performed,

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three-act opera premiered on March 27, 1917 at the Grand Theatre of Monte Carlo.

It tells the love story of a courtesan from high society and a naïve younger man of modest means.

Magda loves the Parisian worldly life but aspires to romantic and passionate love, and this she finds with Ruggero. They spend a few idyllic months together at the seaside, but when she is about to marry him, she decides that she can no longer lie to him. She confesses her past, and like a swallow, she flies back to her former lover Rambaldo and her old life, leaving Ruggero devastated.

The second lyric production of the fall season at the MMF is La Sonnambula (The Sleepwalker) by Vincenzo Bellini, composed in 1831 in the bel canto style, where beauty of voice and the virtuosity of the singers are integral to conveying the emotions of the composer. The story is one of love and jealousy, and includes a mad scene in true operatic style. The production by Bepi Morassi is set in a Swiss ski resort in the 1930s. Laura Giordano stars as Amina in the title role, and Sebastiano Rolli conducts the performances on November 18, 22, 26, and 29.

The full schedule of the Maggio Musicale Orchestra is listed at www.operadifirenze.it.

PISA This year celebrates the 150th anniversary of the Teatro Verdi of Pisa, which was inaugurated on November 12, 1867 with the opera William Tell by Rossini. The festivities begin with a gala concert on September 24 with a program of Verdi arias and selections from William Tell.

On the program for November 10 and 12 will be Verdi’s Il Trovatore. The opera, one of the composer’s “popular trilogies,” comprising Rigoletto and La Traviata, premiered in Rome in 1853 as a huge success, and in a short time was represented in opera houses worldwide.

The opera’s sensational plot involving kidnapping, beheading, burning babies, and bloody revenge is accompanied by some of Verdi’s most beloved music. The four-act tragedy is set in 15th century Spain and tells the story of the love of Manrico and the Conte di Luna (who, unbeknownst to them, are brothers) for the same woman, Leonora.

The theater’s entire season can be found at www.teatrodipisa.pi.it.

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MUSIC CALENDAR SEPTEMBER 15. Friday at 8 pm Opera di Firenze, Piazzale Vittorio Gui, 1 MADAME BUTTERFLY opera by Puccini Maggio Musicale Orchestra Francesco Pasqualetti, Conductor 16. Saturday at 8 pm Opera di Firenze, Piazzale Vittorio Gui, 1 LA BOHEME opera by Puccini Maggio Musicale Orchestra Francesco Ivan Ciampa, Conductor 21. Thursday at 8 pm MADAME BUTTERFLY (see Friday, 15) 22. Friday at 8 pm Opera di Firenze, Piazzale Vittorio Gui, 1 TOSCA opera by Puccini Maggio Musicale Orchestra Valerio Galli, Conductor 23. Saturday at 8 pm LA BOHEME (see Saturday, 16) Saturday at 8:30 pm Pisa Cathedral FREIBURGER BAROCKCONSORT ENSEMBLE Music of Biber and Steffi with the Vox Luminis Choir Saturday at 9 pm Museum of Natural History, Livorno FLORENCE CHAMBER ORCHESTRA Biagio Ilacqua, Conductor Soloist Alberto Bocini (bass) Music of Anichini, Bottesini and Wolf 24. Sunday at 3:30 pm TOSCA (see Friday, 22) Sunday at 9 pm Orsanmichele, via Calzaiuoli FLORENCE CHAMBER ORCHESTRA Biagio Ilacqua, Conductor Soloist Alberto Bocini (bass) Music of Anichini, Bottesini and Wolf 25. Monday at 9 pm Cherubini Conservatory, Piazza delle Belle Arti 2 PIANO CONCERT

by Alberto Ferro Music of Beethoven and Florin Monday at 9 pm FLORENCE CHAMBER ORCHESTRA (see Sunday, 24) 26. Tuesday at 8 pm TOSCA (see Friday, 22).

Tuesday at 9 pm Cherubini Conservatory, Piazza delle Belle Arti 2 VIOLIN AND PIANO CONCERT

by Gennaro Cardaropoli and Alberto Ferro Music of Grieg and Petrassi

27. Wednesday at 9 pm LA BOHEME (see Saturday, 16) Wednesday at 9 pm Cherubini Conservatory, Piazza delle Belle Arti 2 VIOLIN AND PIANO CONCERT

by Giuseppe Gibboni and Fabio Silvestro Music of Paganini and Schnittke 28. T hursday at 8 pm TOSCA (see Friday, 22) 29. Friday at 9 pm Pisa Cathedral COSTANZO PORTA CHOIR Music of Brahms, Mendelssohn and Pärt Song concert 30. S aturday at 3:30 pm LA BOHEME (see Saturday, 16)

OCTOBER 1. Sunday at 3:30 pm Opera di Firenze, Piazzale Vittorio Gui, 1 TOSCA opera by Puccini Maggio Musicale Orchestra Valerio Galli, Conductor 2. Monday at 9 pm Cherubini Conservatory, Piazza delle Belle Arti 2 PIANO CONCERT

by Leonora Armenia Music of Beethoven, Liszt, and Benzecry 3. T uesday at 5 pm Palazzo Pitti (Sala Bianca), Piazza de’ Pitti, 1 MAGGIO MUSICALE ORCHESTRA Federico Maria Sardelli, Conductor Music of Mozart, Bach, Rigel, & Hohenzollern Tuesday at 9 pm Cherubini Conservatory, Piazza delle Belle Arti CELLO AND PIANO CONCERT with Alessio Pianelli and Leonora Armellini Music of Schumann 4. Wednesday at 5 pm Palazzo Pitti (Sala Bianca), Piazza de’ Pitti, 1 MAGGIO MUSICALE ORCHESTRA Nicola Valentini, Conductor Music of Mozart, Bach, & Haydn Wednesday at 9 pm Cherubini Conservatory, Piazza delle Belle Arti 2 CHAMBER CONCERT with Debora Tempestini (piano) Roxana Ligia Visinescu (violin) and Giacomo Petrucci (cello) Music of Schubert and Grieg 5. Thursday at 5 pm MAGGIO MUSICALE ORCHESTRA (see Tuesday, 3) Thursday at 9 pm Cherubini Conservatory,

by

Jennifer Klammer

Piazza delle Belle Arti 2 CELLO AND PIANO CONCERT with Luca Giovannini and Lavinia Bernoulli Music of Beethoven and Piazzolla 6. Friday at 5 pm MAGGIO MUSICALE ORCHESTRA (see Wednesday, 4) Friday at 8:30 pm Pisa Cathedral MONTEVERDI CHOIR & ENGLISH BAROQUE SOLOISTS Sir John Eliot Gardiner, Conductor Music of Claudio Monteverdi 7. Saturday at 5 pm MAGGIO MUSICALE ORCHESTRA (see Tuesday, 3) Saturday at 9 pm Cherubini Conservatory, Piazza delle Belle Arti 2 VOICE AND INSTRUMENTAL CONCERT with Raffaele Pe and Giangiacomo Pinardi (lute) Music of Monteverdi, Piccinini, and Montesardo Saturday at 9 pm Via del Proconsolo 4 FLORENCE CHAMBER ORCHESTRA Giuseppe Lanzetta, Conductor Soloist Francesco Nicolisi (piano) Music of Lanzetta, Liszt and Tchaikovsky 8. S unday at 9 pm Santo Stefano Auditorium FLORENCE CHAMBER ORCHESTRA Giuseppe Lanzetta, Conductor Soloist Francesco Nicolisi (piano) Music of Lanzetta, Liszt and Tchaikovsky 9. M onday at 5 pm FLORENCE CHAMBER ORCHESTRA (See Sunday, 8) Monday at 9 pm Cherubini Conservatory, Piazza delle Belle Arti 2 LYSKAMM QUARTET Music of Bartok 11. W ednesday at 9 pm Cherubini Conservatory, Piazza delle Belle Arti 2 PIANO RECITAL

by Leonardo Colafelice Music of Beethoven, Tchaikovsky, Montalti, Debussy, and Stravinsky 14. Saturday at 4 pm Teatro della Pergola EUROPA GALANTE ENSEMBLE Fabio Biondi, Conductor Music of Bach 15. S unday at 9 pm Teatro della Pergola (Saloncino) CELLO CONCERT by Antonio Meneses Music of Bach 17. T uesday at 8 pm Opera di Firenze, Piazzale Vittorio Gui, 1 LA RONDINE opera by Puccini Maggio Musicale Orchestra Valerio Galli, Conductor Tuesday at 9 pm Orsanmichele, via Calzaiuoli

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music & dance FLORENCE CHAMBER ORCHESTRA STRING QUARTET Soloists Beatrice Bianchi and Alessandro Bernardi (violin) Vera Stefanovich (viola), Gabriele Cocchi (cello) Music of Morricone and Rota 20. Friday at 8 pm LA RONDINE (see Tuesday, 17) 21. Saturday at 4 pm Teatro della Pergola PIANO RECITAL

by Paul Lewis Music of Haydn Saturday at 8 pm Opera di Firenze, Piazzale Vittorio Gui, 1 THE ELIXIR OF LOVE opera by Donizetti Maggio Musicale Orchestra Fabrizio Maria Carminati, Conductor 22. Sunday at 3:30 pm LA RONDINE (see Tuesday, 17) 24. Tuesday at 8 pm THE ELIXIR OF LOVE (see Saturday, 21) Tuesday at 9 pm Teatro della Pergola (Saloncino) PERCUSSION CONCERT

by Simone Rubino Music of Bach and Bocca 25. Wednesday at 8 pm LA RONDINE (see Tuesday, 17).

26. T hursday at 8 pm THE ELIXIR OF LOVE (see Saturday, 21) Thursday at 9 pm Teatro Verdi ORCHESTRA DELLA TOSCANA INAUGURATION CONCERT Daniele Rusioni, Conductor Soloist Roman Simoviฤ (violin) Music of Prokofev, Ravel, Borodin, and Stravinsky 28. S aturday at 4 pm Teatro della Pergola PIANO RECITAL

by Angela Hewitt Music of Bach Saturday at 8 pm Opera di Firenze, Piazzale Vittorio Gui, 1 MAGGIO MUSICALE ORCHESTRA Vladimir Fedoseev, Conductor Music of Shostakovich & Respighi 29. S unday at 9 pmTeatro della Pergola NOVUS STRING QUARTET Soloist Andrei Ionita (cello) Music of Bach, Mozart and Shubert

NOVEMBER 4. Saturday at 4 pm Teatro della Pergola EMERSON STRING QUARTET Music of Beethoven 5. Sunday at 9 pm Teatro della Pergola (Saloncino) EMERSON STRING QUARTET Music of Beethovent

6. Monday at 9 pm Teatro della Pergola (Saloncino) FLUTE AND PIANO CONCERT

by Andrea Oliva and Pietro de Maria Music of Bach 8. W ednesday at 9 pm Teatro Verdi ORCHESTRA DELLA TOSCANA Enrico Dindo, Conductor Music of R.Strauss, Glazunov, Dvorรกk, and Schumann 11. S aturday at 4 pm Teatro della Pergola VOICE AND PIANO CONCERT

by Luca Pisaroni (bass) and Christina Koch Music of Bellini 12. Sunday at 9 pm Teatro della Pergola (Saloncino) CREMONA QUARTET Soloist Larry Dutton (viola) Music of Schubert and Beethoven 18. S aturday at 4 pm Teatro della Pergola VOICE AND PIANO CONCERT

by Ian Bostridge (tenor) and Julius Drake Music of Debussy 19. S unday at 9 pm Teatro della Pergola (Saloncino) CELLO CONCERT

by Mario Brunello Music of Bach 20. M onday at 9 pm Teatro della Pergola (Saloncino) CHAMBER MUSIC CONCERT Soloists Ian Bostridge (tenor) Alessio Allegrini (French horn) and Julius Drake (piano) Music of Schumann and Schubert 25. S aturday at 4 pm Teatro della Pergola PROMETEO QUARTET Music of Sciarrino, Ravel, and Mendelssohn 26. Sunday at 9 pm Teatro della Pergola (Saloncino) QUATUOR EBENE ENSEMBLE Soloists Antoine Lederlin (cello) and Antoine Tamestit (viola) Music of Sciarrino, Dutilleux, and Schoenberg 30. T hursday at 9 pm Teatro Verdi ORCHESTRA DELLA TOSCANA FESTA DELLA TOSCANA CONCERT Maxim Emelyanychev, Conductor Soloist Gile Bae Music of Chopin and Mendelssohn

DECEMBER 5. T uesday at 9 pm Santo Stefano Auditorium FLORENCE CHAMBER ORCHESTRA Giuseppe Lanzetta, Conductor Soloists Sabrina Bessi (soprano), Patrizia Scivoletto (contralto) Giampaolo Franconi (tenor), Diego Colli (bass) Music of Mozart 24. S unday at 5 pm Teatro Verdi ORCHESTRA DELLA TOSCANA CHRISTMAS CONCERT Daniele Rustioni, Conductor Soloist Alessandro Taverna (piano) Music of Beethoven

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IN TOWN & AROUND MODERN & BOLD DINING A new wind of change has arrived on the local restaurant scene with the recent inauguration of Bar e Cucina (via dei Neri 12/R). The establishment represents a homecoming for owners Matteo Mechelli and Matteo Boglione—both of whom returned to their birthplace, Florence, after a career in New York.

Both share a modern and bold vision, one reflected in Bar e Cucina, a comfortable spot to spend time and meet people.

“We wanted simplicity in a city layered with history,” says Mechelli. He was responsible for the décor and the name “the idea was to have a counter with a kitchen and a few tables so that people could come in for a glass of wine and stay for a meal if they wish.” Complementing the clean lines of the tables and chairs is a bookcase from the ‘50s behind the bar, lighting fixtures from the ‘40s, and faithful reproductions of 1920s-inspired Tom Dixon lamps.

Matteo Boglione is the chef, and although young, has already had a notable

career. Mentored by culinary star Daniele Pescatore, Boglione went on to create restaurants in Boston’s Financial District and New York’s Tribeca before returning to Le Cirque as an executive chef. He had previously established Le Cirque’s restaurants in India for the Maccioni family.

“My recipes are simple, creative twists on classics with a contemporary flair,” he says. In glowing lights on the walls is Boglione’s signature recipe for crème brulée: cream, pecorino cheese and eight egg yolks.

Bar e Cucina’s menu is different for lunch and dinner, although dishes are always seasonally based, with an emphasis on fresh fish in the evening.

With a clear influence traced to New York brunch, the lunch menu (served between noon and 3 pm) includes a fantastic club sandwich with breast of chicken, bacon and a sunny side up egg; smoked salmon on toast accompanied by poached eggs, hollandaise sauce, avocado and tomato; a Caesar salad consisting of romaine lettuce,

anchovies and parmesan with a poached egg on the side in addition to an authentic eggs Benedict with hollandaise sauce on toasted bread.

Not to be overlooked is the hamburger or the cheeseburger, topped with tomato relish instead of ketchup. For those who cannot do without pasta, there is garganelli with basil pesto, fresh tomatoes, black olives and smoked scamorza cheese. Dessert provides a choice of American desserts such as carrot cake and apple pie.

Bar e Cucina plans to remain open between 3 and 6 pm to offer several main courses available at lunch.

Dinner (7 – 11 pm) brings veal tonnato 2.0: a fried veal Milanese cutlet with mayo, capers, grilled tomatoes, lemon and a tuna roll; potato tortellini sauced with clams, calamari, tomatoes and leek purée; a salad with cannellini beans, cod fish, pickled red onions and a garlic vinaigrette plus other dishes.

The wine list favors small vineyards and

Calendar Until October 29 HELIDON XHIXHA Boboli Gardens 8:15 am – 6:30 pm Closed the first and last Monday of the month Admission: €10 Until January 6, 2018 GIOVANNI BOLDINI Antico Palazzo dei Vescovi museum, Pistoia Mon., Tues. & Fri. 10 am - 4 pm Sat. and Sun. 10 am – 7:30 pm Admission: €7 Until January 14, 2018 BOUND Our Lady of the Assumption

by Bernardo Daddi Palazzo Pretorio museum, Prato 10:30 am to 6:30 pm Admission: €8 Until May, 2018 1972, THE RETURN TO ITALY Salvatore Ferragamo museum Piazza Santa Trinita 5/r 10 am – 7:30 pm Closed December 25, January 1 Admission: €8 ** All events are in Florence unless otherwise stated

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notes local producers. Above, all, “Bar e Cucina is a place to come and relax,” says Mechelli, who, like Boglione, is the son of a Florentine father and American mother.

Never having met each other until recently, they found themselves making the same choices. Mechelli earned a degree at a London university before receiving a masters degree from the Bocconi in Milan.

They both moved to New York in search of a successful future.

Mechelli and Boglione spent several years in the city, working in different areas, before they met and got to know each other. After having acquired the necessary experience, they decided to return to Florence because “there is no place like home.” They joined forces and began their adventure.

Bar e Cucina was born from their love of Italy and the desire to return to their roots.

After traveling around the world and discovering and appreciating other countries and cultures, they became convinced that the “quality of life” should be their starting point.

Their mothers are Susan Mechelli and Mary Rose Pincelli, the latter well known in expat (and local) circles for her career as a dental hygienist. Despite being in

Matteo Boglione e Matteo Mechelli

Florence and New York at the same time, their sons only met recently through mutual acquaintances. “I feel at home in both countries,” says Mechelli. It is a philosophy evident throughout Bar e Cucina. (rosanna cirigliano)

LUNCH / 11am–3pm BAR MENU / 3–6pm DINNER / 7–11pm SUNDAY BRUNCH noon - 4pm

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CLOSED MONDAY

GIOVANNI BOLDINI The works of Giovanni Boldini (1842-1931), Italian portrait and landscape painter, will make an appearance once again in Pistoia. A show titled La Stagione della Falconiera commemorates the period during which the artist worked exclusively on commission for a patron, Isabella Falconer, near Pistoia. The show comprises works never seen up to now at Antico Palazzo dei Vescovi museum.

During the beginning of his career in the middle of the 1860s until 1871, Giovanni painted a range of murals in tempera at Villa la Falconiera, in Tuscany, from which the retrospective takes its name. Boldini’s landscapes were unique and personal, reflective of his camaraderie with the Macchiaioli (Tuscan Impressionists), including Telemaco Signorini, who would typically paint in open air to capture the natural light and shading. It was in 1862 when Boldini attended the Academy of Fine Arts in Florence that he met such artists and followed their style of bucolic country scenes. He would move to Paris in 1871, where he subsequently became one of Europe’s most famous portraitists.

Boldini’s landscapes arrived at the Antico Palazzo dei Vescovi museum thanks to Emilia Cardona Boldini, the artist’s biographer and widow. After the 19th century, the memory of the murals faded when Falconer’s daughter shut up the house upon leaving Tuscany when she married.

Before he died, Boldini told his wife that he had painted extensively in a Tuscan town that began with the letter “P,” and thanks to this tip, at the end of the 1930s she arrived at Villa la Falconier to discover her late husband’s murals in a room that had been converted into a tool shed.

A bank foundation later bought the house during the 1950s, and financed the detachment and restoration of the artworks. The 16 masterpieces on display include La Marina (1870) made in Milan, a portrait of Telemaco Signorini (1870), another of Cristiano Banti (1866), kept in Palazzo Pitti’s Modern Art Gallery in Florence and Giovane paggio che gioca con un levriero (1869), which depicts a young boy playing with a greyhound. It was, however, a painting of Generale Spagnolo with Isabella Falconer between 1867 and 1868, which allowed him to become known as one of the best portraitists in the world. (karen gee)

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THE RETURN OF A MEDIEVAL ALTARPIECE At the heart of Prato lies a symbol both religious and civic, a cardinal element of its identity, traditionally tied to textile manufacture, that has inspired the art and culture of the city itself: what is held to be the cloth belt of the Virgin Mary. The Palazzo Pretorio museum’s newest exhibition, Bound: Our Lady of the Assumption

by Bernardo Daddi and the Identity of a City, celebrates the history of this sacred belt.

According to a 12th century legend, a merchant named Michael brought the Virgin Mary’s belt, which she bestowed upon St. Thomas at the time of her Assumption, to Prato in 1141. Upon his deathbed in 1172, Michael gave the relic to the church. Made of a thin strip of fine green wool, the belt is 87 centimeters (34 inches) long and has gold brocade with two cords to secure it.

One of the most prestigious works dedicated to the Assumption and the Virgin Mary’s belt was commissioned to Bernardo Daddi in 1337-1338. His altarpiece, which was broken apart and displayed in various museums in Italy and in New York, will

finally be reunited in Palazzo Pretorio to show the true magnificence of the original.

Other artists whose works were influenced by the revered belt and the legend behind it will also be featured in the exhibition, including sculptor Maestro di Cabestany, who worked in Roussillon and Prato, and painter Giovanni da Milano.

With a ticket to the show at Palazzo Pretorio, one can also access the Capella della Sacra Cintola (Chapel of the Sacred Belt) in Prato cathedral. Typically closed to visitors of the Duomo, the chapel contains a stunning fresco cycle by Agnolo Gaddi, as well as other treasures relating to the sacred relic.

More information can be found at www. palazzopretorio.prato.it. (aubrey williams) FASHION & ART AT THE FERRAGAMO MUSEUM The Return to Italy show at the Ferragamo museum embodies all the outrageous and bold qualities of the 1920s that modern fashionistas still love: glitz, glamor, empowerment, and a beautiful pair of heels.

2017 marks 90 years since Salvatore Ferragamo came back to his home country after over a decade of honing his craft out

in Hollywood.

As visitors descend the steps into the show, Futurist painter Pippo Rizzo’s The Wanderer greets them before they walk through a video installation that make them feel as if they are sailing the Atlantic on a sunny day. Around the corner are shelves of some of Ferragamo’s early shoe and model work.

Visitors will also find a celebration of women. After WWI, the female figure became liberated from the sole identity of mother and child-bearer and championed herself as a figure in society, literary circles, and sports competitions. A sort of femme fatale was born—an ideal that Ferragamo would use in his fashion. There is a gorgeous selection of women’s day and evening wear, and even portraits of famous women like Luisa Casati and Paola Borboni.

Beginning in the 1920s, the aesthetic of clothes and objects was closely connected with physicality and the beauty of the human form. Featured are sculptures and photographs including Giacomo Balla’s sculpture on the study of dance and Primo Conti’s portrayals of the athlete’s body. (tessa lucia debole)

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upcoming & ongoing

FLORENCE’S FILM SCENE: A NEW BEGINNING

by

Karen Gee

The ’50 Giorni' festival gives way to an ongoing series of international films on the big screen

C

inema La Compagnia (Via Cavour 50/r) opens its doors once again this autumn in Florence with a brand new film series schedule. At the start, the public can look forward to some of American director James Ivory’s most impressive works, and later on to the Toscana Film Network, a weekly showing of local, Tuscan movies.

To kick-start the month of October, La Compagnia, a theater-converted-cinema will run a three-day viewing of some of his best films, including Maurice (1987), Howards End (1992), The Remains Of The Day (1993), and The City of Your Final Destination (2009).

Perhaps the most well known of Ivory’s efforts is Room with a View (1985), screening nightly from October 6 - 8. The event will celebrate the 30th anniversary of its release and will be organized in conjunction with the City of Florence, New York University, the British Institute of Florence, and the Odeon Cinema. Fall in love all over again with this romantic drama by

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following Lucy on her journey to find the right man. Experience the pure beauty of Florence in all its glory through her eyes.

Next up is the Festival dei Popoli, which promotes the study of social documentary production to complement its program of showings. Held between October 10 - 17, courses and workshops will be available for aspiring filmmakers to learn techniques and to make contacts.

Complementing the Festival dei Popoli is Top Doc, a new documentary festival. It showcases not-to-be-missed international movies such as Loving Vincent, a crime fiction zooming in Van Gogh’s last few days, brought to life through scenes of artworks created by 100 artists using the technique of Painting Animation Work Station.

From October 19 - 22, France Odeon Festival will promote the French culture and influence through the medium of film.

With a single entrance at €8, the festival, founded in 2009, allows the public to explore what contemporary French cinema has to offer.

One can experience the power of classic films during the Cinema Ritrovato from November 2 - 5, featuring iconic entries made over 50 years ago. The Festival Internazionale di Cinema e Donne from November 8 - 12 provides an opportunity for audiences to appreciate the importance of female roles - glimpsed through stars, directors and storylines - in a male-dominated cinematic world.

Lo Schermo dell’Arte Film Festival on November 15 - 19 comprises exhibitions and film premieres on contemporary art.

The program spotlights a series of short films such as The Dust Channel (2006) by Israeli artist Roee Rosen. The Dust Channel reflects the feelings of being confronted with xenophobia—the family, which the film centers on, becomes obsessed with dust and dirt, for them symbolic in a subliminal manner of the desert and the Holot, a local detention center for refugees.

Following this is the River to River Florence Indian Film Festival from December 7-12, which is the only event in Italy dedicated to the Indian film industry, as well as the NICE retrospective on December 15 showing Italian movies presented at U.S. festivals.

The grand finale is the Toscana Film Network, which will take place between December and February. There will be a weekly program of local Tuscan films, as well as an opportunity for professionals to meet one another.

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T USCANY’ S C ULT U RA L GU I D E

MODERN FLORENCE

by

Margaux Glovier

An itinerary of 20th century culture off the beaten tourist track

Llewelyn Lloyd: Addio Sole, Golfo di Procchio

VILLA BARDINI At Villa Bardini (Costa San Giorgio 2), Lloyd: Tuscan Landscapes of the Twentieth Century is a key example of how modernity pays tribute to the beauty of Italy just as well as the ancient does. This exhibition showcases 60 paintings by Llewelyn Lloyd from 27 different collections that show the country’s natural splendor.

Lloyd, Welsh in origin but Livornese by birth, arrived in Florence at the threshold of the 20th century after completing his artistic training in Livorno. In the spirit of the 19th-century Macchiaioli movement of Tuscan painting, Lloyd portrayed the Tuscan sea and countryside with a commitment to capturing the landscape’s natural light and color.

The works, many of which were created in the 1930s, show an Italy that was much more rugged than the one we know today.

This is evident in the Le Rocce di Manarola, which depicts an empty boat floating near a rocky cove at sunset, a far cry from the Manarola coastline of colorful houses with crowded streets that today’s tourists routinely post on their Facebook feeds.

The scenes highlighted in the Lloyd retrospective also illustrate the daily lives of Italians who lived in the Tuscan countryside. Crumbling houses and dilapidated boats provide an honest, less romanticized

view of a population that tends to be swept up into an Under the Tuscan Sun-esque narrative.

Another work, Il Paese Dopo l’Alluvione: La Casa Nel Torrente, depicts a stone house that has been partially destroyed by a flood.

The empty house is reminiscent of many of the abandoned homes that stand alone in Tuscany to this day.

Highlights showcasing Florence include Veduta di Firenze dal Viale dei Colli (View from Viale dei Colli) and L’Arno a Firenze (The Arno in Florence). While some claim that artistic representations will never be able to capture the beauty of the real thing, Lloyd’s painted images of the Duomo peeking out from behind wooded hills and a stormy grey Arno give these naysayers a run for their money.

Open Tues. – Sun. 10 am – 7 pm through January 7.

HIGHLIGHTS FROM FLORENCE’S 1960s ART SCENE Fans of modern artwork should know that the city’s extensive modern art collection has found a permanent home in the Novecento 20th Century Art Museum. Located in Piazza Santa Maria Novella, the building was designed by Renaissance architect Michelozzo and houses two floors of artwork centered around a spacious cloister.

Currently on display until October 1 is Vittorio Giorgini, Architect (1926-2010): A Project for Art/Quadrante (1961-1964), an exhibition that celebrates the life of Florentine architect Vittorio Giorgini.

An important cultural figure in Florence’s post-World War II art scene, Giorgini was responsible for designing a gallery that featured the work of contemporary Italian architects including Gualtiero Nativi, Antonio Bueno, and Gherardo Rueda.

Il Quadrante was one of Florence’s most significant art spaces during the 1960s.

Visitors to the Novecento’s Giorgini exhibit will interact with a reconstruction of this gallery space, as well as view design drawings, vintage photographs, and bulletins documenting il Quadrante at the height of its popularity.

A framed sign that screams in bold red letters, “Contemporary art lives in new spaces/ Contemporary art does not make use of historical spaces,” confronts visitors at the beginning of the il Quadrante exhibit. The black and white photographs that are on display, which depict an anonymous person’s hands, a masked man, and a woman smoking in front of a video camera, perpetuate this quirky message.

The forte of A Project for Art/Quadrante is its ability to address controversial aspects of Italian culture. A 1963 collage by

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closing Luciando Ori entitled Il Filo Della Bellezza pokes fun at women’s enhancement of their appearance through cosmetic procedures, while a piece called Italia Vostra (1972) features apocalyptic scenes of Santa Maria del Fiore sinking underwater and the Leaning Tower of Pisa crumbling into the ground.

Open Mon. – Sun. 11 am - 8 pm; Thursday 11 am - 2 pm; Fri. 11 am - 11 pm through Sept., Mon. – Sun. 11 am – 7 pm, Thurs. 11 am – 2 pm. Admission: €8.50.

AN ARTIST’S DOUBTS ABOUT HUMANITY The Marino Marini Museum contains an incredible mixture of both ancient and contemporary art. The key artist whose work is displayed, Marino Marini, embodies this combination by drawing inspiration for his contemporary sculptures from ancient Etruscan artifacts.

Particularly of interest are Marini’s series of works entitled Cavaliere (“The Rider”), which resemble traditional Etruscan funerary figures. His depiction of riders perched precariously on their horses is also a commentary on the restlessness and uncertainty of modern society and the rupture in man’s relationship with nature.

As time progressed, Marini grew increasingly depressed and uncertain about the vulnerability of mankind. His worries about humanity’s loss of control are reflected in his pieces; his 1952 sculptures portray riders desperately straining to rein their horses in.

The Cavaliere series may also be placed in a historical context; many of these were created during the 1930s and 1940s and represent a backlash against the traditional symbols of Italian male power that Mussolini promoted at this time. Instead of portraying a traditional scene of Roman military conquest, Marini used his images of agitated horses and uncertain riders to convey the restless atmosphere that Fascism was creating.

The museum’s sunlit, simple, and white-walled structure creates a sparse environment that welcomes the viewing of sculpture. A simple wooden bench placed directly beneath an elaborate geometric window allows museumgoers to sit down and enjoy in Marini’s combination of old and new.

Open Sat. – Mon. 10 am – 7 pm; Wed. – Fri. 10 am – 1 pm; Tuesday closed.

Admission: €6.

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