Vista Magazine nr.52

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Con il patrocinio del Comune di Firenze

Numero 0/Fall 2019/Spedizione in abbonamento postale Gruppo IV - 70%/Magenta Editrice/In attesa di registrazione al Tribunale di Firenze/Distributed free

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

SPECIAL TRADITIONS ISSUE FLORENCE FOUNTAINS

A U.S. CONSUL RETROSPECTIVE

ANTIQUES, HISTORIC SHOPPING & DINING

CASTLE HOPPING & THE BEST SPAS IN TUSCANY

www.magentaflorence.com

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The cover photo of a Boboli Gardend fountain is by Andrea Pistolesi.

Direttore Responsabile managing editor

music editor

Rosanna Cirigliano

Anne Lokken

copy editor

Aubrey Williams

Alex Harrison

graphic design

Alessandro Naldi

photographers

Andrea Pistolesi

Stefano Amantini

Marco Pardini

contributing writers

Rita Kungel

Elizabeth Wicks

Karen Gee

Katy Rose Sparks

Lea Bourgade

interns

Saskia Brown

Alex Harrison

Sierra Case

Emma Hempstead

Mary Filatova

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Firenze

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Fontana dello Sprone, a Mannerist fountain in Florence’s Oltrarno neighborhood

FOUNTAINS IN A CITY OF STONE Florence’s ornamental, free-standing artistic waterworks

Lea Bourgade photo by Andrea Pistolesi by

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hroughout Florence, fountains offer miniature escapes from the chaos of urban life. Just as much connections to Florence’s past as they are calming figures, The City’s Fountains are important sites which deserve close appreciation.

Fountains can be found in all shapes and sizes throughout Florence, from its most famous squares to its glorious gardens and green areas to hidden nooks.

While some fountains offer a brief distraction from the hustle and bustle, others allow for extended visits with their many benches and other resting areas.

NEPTUNE FOUNTAIN First commissioned by Cosimo I de’ Medici, Piazza della Signoria’s Neptune Fountain was Florence’s first public fountain and remains one of the city’s most notable monuments. This outstanding 16th-century monument recently underwent two years of extensive restoration work to remove centuries of vandalism and degradation as the fountain was not always as widely appreciated as it is today.

The Neptune Fountain originated in a typical Florentine manner: through competition. Baccio Bandinelli was Cosimo’s first choice for the artwork, but the artist’s death

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left the nobleman with the task of finding a new sculptor. In 1559, he announced a contest to build the fountain and chose Bartolomeo Ammannati as the winner, whose concept was deemed to reflect the Tuscan grand duke’s seafaring goals.

Yet, after spending years carving an enormous statue of Neptune with three tritons and a seashell chariot pulled by four horses, Ammannati was met with resentment from Florentines, who mockingly nicknamed it Biancone, or “big white fellow.” They even used the fountain to wash laundry and ink pots, despite notices forbidding these activities—one of which can still be seen behind the fountain today.

Ammannati himself admitted his dissatisfaction with the work, explaining that the proportions of the marble gave Neptune an oddly compressed stature.

Since the fountain’s unveiling by mayor Dario Nardella on March 25, 2019, the Neptune Fountain can be enjoyed by residents and visitors of Florence yet again. The 1.5 million euro restoration project, sponsored by Salvatore Ferragamo, involved the mechanical and chemical cleaning of the sculptures, as well as the installation of a brand-new plumbing system. Today, with its gleaming Carrara marble surfaces, stunning waterworks, and several bronze sculptures of mythical creatures and gods by Ammannati, Giambologna and others, the fountain may finally match the artists’ initial vision.

PUTTINO FOUNTAIN Although more subdued in its size and ornamentation, the historical Puttino fountain can be found just a few steps away. Located just inside Palazzo Vecchio, the fountain was erected for the wedding of Francesco de’ Medici and Jane of Austria in 1565. The simple and graceful structure is topped with a beautiful bronze statuette sculpted by Renaissance artist Andrea del Verrocchio, depicting a playful cherub clutching a small dolphin.

The putto balances on one foot atop a column decorated with lion heads, which spit gentle trickles of water into the basin below and produce calming echoes throughout the courtyard.

LE RAMPE One of the most ambitious fountain restoration project in recent years was the revival of the Roggi del Poggi, also known as the Rampe, in Florence’s San Niccolò

The newly restored Neptune fountain in Piazza Signoria

neighborhood. The Rampe were originally built in 1865 by Giuseppe Poggi, who was tasked by the Municipality of Florence to enlarge the city’s urban spaces. Besides tearing down ancient city walls, building boulevards, and installing railways, Poggi established many green areas for the welfare of the community and inclusivity of the community. The Rampe were built as part of this endeavor between 1872 and 1876; its hilly location provides stunning views of Florence and several gardens, mosaics, caves, and niches connected by the element of water, which cascades from the highest point of the ramps to its end near San Niccolò Tower.

Over the years, however, the lack of water supply and funding to maintain the canals resulted in the Rampe’s deterioration, including its many architectural elements and diverse vegetation. Fortunately, the city’s 2.5 million euro project to restore

the monument to its original condition allows today’s passersby to enjoy the structure’s various fountains, basins, and ponds for the first time in over a century.

FONTANA DELLO SPRONE Perhaps the most surprisingly beautiful fountains in Florence are those coexisting with the city’s modern spaces, bridging the rich past with the lives of today’s Florentines. One of the most prominent examples is the Fontana dello Sprone, which was completed in 1608 by Bernardo Buontalenti. Gracing the angled intersection of Via dello Sprone and Borgo San Jacopo, the public fountain depicts the face of a bewhiskered man, with large flowing eyebrows and facial hair. A stream of water flows from his mouth into the fantastically swirled basin below; initially, the water was even designed to overflow from the basin and form a graceful waterfall.

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opening TABERNACLE OF THE LITTLE WATER FOUNTAINS A similarly situated fountain is the lovely Tabernacolo delle Fonticine, or “Tabernacle of the Little Water Fountains.”

The work by Giovanni della Robbia was finished in 1522 and is located along the busy Via Nazionale. Beneath a grand arch, the highlight of the fountain is a large colorful terracotta depiction of the Madonna and child, accompanied by St. Barbara, St. Luke, St. James, and St. Catherine. Below, the fountain itself is composed of a row of seven cherub heads, from which water spouts into a long marble basin.

SANTA CROCE FOUNTAIN For an extended fountain visit, Santa Croce is a perfect spot, with a bench just in front of it facing the church in order to admire the façade of the basilica.

Composed of a lovely contrast of dark and light marble and adorned with lion heads and irises, the baroque fountain was first constructed in 1673 by Pietro Maria Bardi. After several years out of order, the plumbing system was restored last spring thanks to a donation by the Mehti family

from India, who held a wedding in Piazza Ognissanti in 2015.

SANTO SPIRITO FOUNTAIN On the other side of the Arno, Piazza Santo Spirito offers another opportunity to unwind and relax on the fountain-side.

The large but simple piece at the center of the piazza has a wide ledge to sit on right alongside its basin—as long as you don’t mind sharing the space with a small but ever-present gaggle of pigeons. Thankfully, plenty of benches nearby allow enjoyment of the water at a safe distance.

Last year, Condè Nast sponsored the restoration of the fountain, which was originally built in 1556 in one of the cloisters of the convent, before being moved to the square in 1812. The end result is a perfect atmosphere for taking time away from the bustle of the busy streets.

FOUNTAIN OF THE MARINE MONSTERS A similar ambiance can be found by paying a visit to Piazza della Santissima Annunziata and its twin fountains by Pietro Tacca, which can be enjoyed from

Buona tavola at

The Delights of Good Food in Florence Fresh pasta, Tuscan cooking, Southern Italian dishes

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Open daily noon – 3 pm, 7 – 11 pm

055/217343 www.ristoranteaccademia.it

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the steps of the Spedale degli Innocenti. Dubbed the “Fountains of the Marine Monsters,” Tacca’s late mannerist fountains were completed in 1641. The two works were originally built for the Livorno harbor, but were placed in Florence. Two monkey-like sea creatures perch back to back atop each mythological fountain.

The aquatic theme feels out of place in the piazza, but the pieces are enjoyable nonetheless.

BOBOLI GARDEN FOUNTAINS For a less urban escapade, the famous Boboli Gardens are a must see. Allot a couple of hours to enjoy getting lost in the gardens, which hold some of the most fantastic fountains in the city.

One highlight of the gardens is Neptune Pond, located near the main entrance of the gardens from Palazzo Pitti. The center of the large pond features the bronze likeness of Neptune, trident in hand, finished by Stoldo Lorenzi in 1574. Benches nearby provide a pleasant resting area to take in the fountain and watch ducks swim.

Deeper into the gardens, however, lies their gem: Piazzale dell’Isolotto, the island fountain designed by Alfonso Parigi in 1618 and later modified under Pietro Leopoldo. At the center of a lake, flanked by various small fountains and bridges to the island, resides the Oceanus Fountain, finished by Giambologna in 1575. His image of Neptune includes personified depictions of the Nile, Ganges, and Euphrates rivers. While the original can now be seen in the Bargello, the copy is well worth the visit, and a great picnicking site in the warmer months with several surrounding benches.

FORTEZZA DA BASSO FOUNTAIN For those living further north of the city, the garden near Fortezza da Basso provides another green escape from urban life on those hot Florentine summer days. Though the fortress dates back to the 14th century, the Giardino della Fortezza was designed in 1865 by Giuseppe Poggi as part of his work to reconstruct and rebrand the city. Amid its winding paths and lush greenery, the garden features a large elliptical pool with a dramatic fountain spray at its center. Benches and grassy areas surrounding the basin make for a splendid afternoon of sunbathing and birdwatching, as the pool frequently hosts a flock of elegant swans.

displays & shows

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A 18th century painting of il Redentore church in Venice by Canaletto exhibited by Dickinson

A CROSSROADS T OF ANTIQUES & MODERN ART The Antiques Fair partners with Florence Art Week by

Katy Rose Sparks

THE INTERNATIONAL BIENNIAL ANTIQUES FAIR September 21- 29 Palazzo Corsini, Via del Parione, 11, Florence.

Open from 10:30 am to 8 pm daily, except for September 26, when it will close at 7 pm.

Admission: €15

he Biennale Internazionale dell’Antiquariato di Firenze (Florence’s International Biennial Antiques Fair) is expanding its repertoire. This edition celebrates 60 years of the event, which was the first of its kind in Europe. For the special occasion, antiques dealers from across the world will be putting never-before-seen pieces on display in the grand setting of Palazzo Corsini. In the spirit of the inextricable link between antiques and the arts, the Antiques Fair is orchestrating Florence Art Week to provide awareness of and access to contemporary exhibition spaces around the city.

New exhibitors include representatives from New York, London, and Paris, contributing to a grand total of 77 participants. Most will be dealers presenting antiques and artworks, in addition to a few art galleries displaying paintings and sculptures. Noteworthy offerings cover a range that comprises furniture, paintings, and textiles to rare books and antique jewelry.

Antiques fairs usually imply the presence of museum-worthy pieces, but the latest edition of the Florence event defies expectations. A newly discovered marble tondo by Florentine early Renaissance master sculptor Benedetto da Maiano (1442-1497), currently owned by the Longari Arte of Milan, will be making a star appearance. The relief depicts the

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displays & shows

June 2 November 3 Centro Matteucci Via G. D’Annunzio, 28 Viareggio

info@cemamo.it ph: 0584-430614 8

feathered hat, a pink-red rose on her jacket. Light blond hair curling around her ears, she gazes into the distance.

Fascinating exhibits include a Venetian cityscape by Giovanni Antonio Canal, known as il Canaletto, from the antique dealer Dickinson in London. The uniquely named Self-Portrait of Clouds (1948)

by Giorgio de Chirico, an abstract work made primarily of blues and whites, with small swipes of soft colors, will be for sale courtesy of Tornabuoni Arte.

A unique piece is a repeating flintlock pistol inscribed with the personalized monogram of Ferdinando III de’ Medici himself. The pistol is owned by possibly the most singular dealer present at the fair: Peter Finer of London, a purveyor of antique weaponry, from medieval swords to some of the earliest models of European guns.

In the alcove on the first floor of Palazzo Corsini, the “Bardini Universe” (Universo Bardini) will celebrate the anniversary of the Bienniale, as well as some of the most notable collectors. It is said that Florence has always been the true home of antiquing, considered where the habit of collecting received its start thanks to

CENTRO MATTEUCCI

Madonna bent over the Christ Child holding an open book, praying as St. John the Baptist props up his cousin. Representing a slightly later era, an oil painting by the Sienese Mannerist artist known as Domenico Beccafumi (1486-1551) can be found at the Galleria Orsi stand. Orsi is also hosting a bust of Pope Urban VIII Barberini by famed Baroque sculptor Gian Lorenzo Barberini (1598-1680), best known for his Fountain of the Four Rivers in Rome’s Piazza Navona.

A later period is represented by neoclassical sculptor Lorenzo Bartolini (17771850) with marble busts of Elisa Bonaparte Baciocchi Levoy, Napoleon’s sister and the duchess of Lucca, and her husband, Felice Pasquale Baciocchi Levoy, which can be admired at the Lullo Pampoulides stand.

Works by famous Italian artists will be featured at the Biennale as well. A painting

by Giovanni Boldini can be found at the Antonacci-Lapiccirella Fine Arts booth: on the front, a woman peers out at the viewer from under a pink hat, her arms covering her chest and her legs crossed modestly.

On the reverse, there is a side profile of the subject, who is wearing an elaborate black,

several important figures: Herbert Percy Horne of the Horne Museum, Elia Volpi of Palazzo Davanzati, and Stefano Bardini of the Bardini Museum. The exhibition is dedicated to Bardini’s life and legacy, as a collector, historian, and artist.

During Florence Art Week, the Palazzo Antinori will open its doors for viewings of paintings by Tuscan Impressionist (Macchiaoli) artists Giovanni and Telemaco Signorini, and the Collezione Roberto Casamonti (see related article) will welcome the public to see its contemporary art show. At Palazzo Corsini, Florence’s Bacarelli Antiques, together with the Botticelli Antichità and San Gimignano’s Galleria Continua, will combine Renaissance and Neoclassical works with those of contemporary artists such as Michelangelo Pistoletto and Daniel Buren. To bring the antique-art relationship full circle, the top management and trustees of the Frick Collection in New York, one of the world’s most important private collections, will be collaborating with the Biennale on some of the inaugural Art Week events.

Frascione Arte (via Maggio 5), is hosting a retrospective dedicated to Florentine artist Ruggero Alfredo Michahelles (1898– 1976), known as RAM. The sculptures, drawings, collages, and prints on display were created by the brother of Thayaht, Ernesto Michahelles (1893–1959), a notable designer who invented the jumpsuit.

The festivities will continue at the Teatro del Maggio with help from the Maggio Musicale Fiorentino foundation. A photography series called “The Biennial in Black and White” is dedicated to pictures of the fair throughout its 60-year run, including iconic moments such as when Sophia Loren and Greta Garbo attended the event.

“The Biennial in Black and White” can be visited as a prelude to a Maggio Musicale opera or concert (Antiques Fair ticketholders will receive a discount to performances), or explored on its own.

Residents of Florence will be granted free entrance to the Antiques Fair on Sunday, September 29 from 1 – 8 pm. While standard tickets are €15, reduced tickets are €10 (for organized booked groups and members of the F.A.I.). Children under six, Biennial VIP cardholders, and the disabled enter for free. Included in the ticket are various exhibitions, presentations, and talks taking place around the fair. Large backpacks, umbrellas, animals, and cameras are not allowed on the premises.

yesterday & today

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fter the movie in 2014 directed by George Clooney, most Americans now have at least heard of the Monuments Men. What they don’t know are the events and more in-depth details of the army division, especially in and around Florence.

During the Second World War, the Superintendent of Florence Art Galleries Giovanni Poggi chose to hide the great works of Florence outside of the city out of fear of the damage or destruction of museums and churches. He chose small, relatively unknown towns to hide the works, often inside large buildings—churches, villas, or castles—such as Montegufoni and Poppi.

Montegufoni Castle near Montespertoli

A WW2 ITALIAN ART MYSTERY The story of hidden Florentine masterpieces & the Monuments Men who saved them Katy Rose Sparks photo by Andrea Pistolesi by

MONTEGUFONI Montegufoni Castle in Montagnana, near Montespertoli is one such location. Established in the 1280s by the Acciaiuoli family, who would later become the Dukes of Athens, the castle was bought by notoriously eccentric Sir George Sitwell in 1909 to give to his son, Osbert. Sitwell did not live in the castle during the war, allowing refugees and troops to safely settle in the large building.

After the discovery and theft of a cache of works at a nearby villa, the Uffizi librarian Cesare Fasola, who was hiding from the Fascists, offered to set himself up in the castle and protect the nearby collections. He lied to the Germans, often offering to give them tours of the art and making sure to underplay their status while not so subtly watching the troops whenever they were unaccompanied near the works.

As the Allied troops inched closer, the Germans left without taking anything. They believed the art belonged to the Sitwell family, whom commanders believed neither had great works nor good taste. Allied forces soon took up residence in the castle.

This newest installation of troops brought with them the attention of BBC war correspondent Wynford Vaughan-Thomas and Major Eric Linklater, who drove up to Montegufoni to report on the situation.

Upon their arrival, they discovered the cache, which was comprised of Paolo Uccello’s Battle of San Romano, Giotto’s Madonna d’Ognissanti, and, most importantly, Botticelli’s Primavera.

The duo’s broadcast brought Lieutenant Frederick Hartt, the regional monument director for Tuscany, to the castle. He was astounded by the untouched

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yesterday & today collection and quickly befriended Fasola with his subsequent formation of a watch squad with the help of Captain Unni Nayar of the Indian Mahratta Light Infantry Division, who were stationed in the castle. Hartt established his base of operations in the castle until the end of the war, sending the untouched works back to their homes with the help of General Harold Alexander.

POPPI Poppi Castle’s role for art in the war had more upturns and downfalls than Montegufoni ever did, though it, too, fortunately ended on a happy note.

The story starts the same way as Montegufoni: Poggi wanted to hide great Florence art, so he sent masterpieces to out of the way area such as the Casentino where is Poppi located, dividing hundreds of pieces between locations. This is where the story changes. German troops, during the month of August and their flight from Italy back toward Germany, sought to take artwork from Italy back with them.

In Poppi, one night during the last days of August 1944, the German commander confronted the mayor with a gun and demanded the help of the local carabinieri to prepare for their departure, as the town was full of spies. In the dead of night, the troops and police boxed up treasures stored in the castle into a truck.

Then they left, shooting at townsfolk and mining the main city gates to prevent pursuit.

Lieutenant Hartt arrived in Poppi on September 25, despite multiple attempts to arrive sooner. He went through the cache of the castle and was pleasantly surprised. Despite several missing German pieces, the most important paintings were still there: Botticelli’s Birth of Venus, da Vinci’s Adoration of the Magi, and Michelangelo’s Doni Tondo.

Eventually, the works were found. On May 8, 1945, the U.S. Army seized the town of Altaussee in Austria, the famous operation that the Monuments Men undertook. There, they found a deposit of stolen artwork consisting of around 7,000 works hidden in the salt mines of the city.

While the fates of the works at Poppi and Montegufoni turned out well, there are still unanswered questions from the war of art. To this day, just under 2,500 works of art are still missing from Italy.

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artists & artisans

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THE GIANNINIS: 160 YEARS OF ARTISTIC CRAFTSMANSHIP Six generations of a Florence family business

Marbled paper and leather bookbinding created in the Giannini workshop

Saskia Brown photo by Marco Pardini by

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elcome to the shop older than Italy itself. Handmade bookbinding and crafts “bottega” (store and workshop) Giulio Giannini & Figlio stands proudly opposite Florence’s Pitti Palace at #37, where it has been ever since its founding in 1856. Today, Guido Giannini and his niece Maria Giannini, the 5th and 6th generations of their family, who maintain and build upon the rich traditions of their ancestors, run it.

Walking through a colorful sea of handmade marbled paper, stationary, notebooks, and trinkets, Maria Giannini leads me to the back room of Giulio Giannini & Figlio, where she sits in front of one of the world’s largest collections of metal stamps, used to decorate leather-bound books. Over 1,500 unique symbols and letters that date from as far back as the 1300s to present day are lined up in glass cabinets as the perfect emblem of the shop’s history, obstacles, and its aspirations for the future.

Maria shares with me the story that has been passed down to her, beginning with Pietro Giannini, who opened the bottega in the mid-19th century. The view of the regal palace through the shop windows serves as a daily reminder of Giulio Giannini & Figlio’s origins as a bookbindery that catered to nobility, quickly

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artists & artisans

garnering a reputation for craftsmanship of the highest quality. In a time when literacy was a privilege and not a right, the shop’s clientele was the lavish cream of the crop of Florentine high society.

In came the second generation, Giulio Sr., during a pivotal age of technological advances when tourism began to form an integral part of Florence’s identity. Many members of the British upper classes were drawn to the Renaissance hub, including Queen Victoria herself. A large and very wealthy English community soon formed and became Giannini’s loyal customers. Not only could foreigners discover the shop more easily, but Guido Sr. could also begin taking his products to international trade fairs, spreading the word of Giulio Giannini & Figlio across the globe.

Strange as it may seem, this English clientele contributed to what is known as the “Florentine” style of decoration, which was crafted as a response to the high demand for the ornate floral designs championed by British textile designer William Morris that were so popular among Florence’s Brits. Guido Sr., soon crowned “the king of gold leaf,” set a new standard in the world of bookbinding. He began to expand Giulio Giannini & Figlio’s products to a broader range of hand-decorated stationery, as well as entering the realm of photo albums, which were increasingly sought after as photography developed.

The fourth generation takes us to Maria Giannini’s grandfather, Giulio Giannini Jr. Maria introduces him as an unassuming and modest man before reeling off the impressive number of significant developments he introduced that ultimately shaped the business, such as his publishing house venture, his collaboration with various artists, and the development of an array of workshops.

Giulio Giannini Jr. also taught and involved his children Enrico and Guido Jr.; the latter now runs the shop with Maria, Enrico’s daughter. The age of the printing press heralded a new era for Giulio Giannini & Figlio, which could no longer survive on bookbinding alone. The fourth and fifth generations were faced with a dilemma: how to move away from bookbinding while preserving their business’ identity and integrity. Their solution was marbled paper.

Marbled paper was far from a new concept—it is a 1000-yearold ancient decorative technique that originated in the Orient.

It wasn’t even new to the shop either; marbled paper was often used inside leather-bound books, so that the value inside matched the sumptuous exterior. Seeing great beauty and poten-

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tial in the whimsical patterns of marbled paper, Giulio Giannini & Figlio began using the technique to decorate an assortment of objects, instigating the widespread popularity of marbled paper.

As Maria unveils the twists and turns in the shop’s history, explaining that the shop has undergone many changes and challenges across the six generations, one constant thread appears entrenched in Giulio Giannini & Figlio’s DNA: the ability to glean something positive from what may initially seem to be an insurmountable setback.

Giulio Giannini & Figlio does not shy away from acknowledging the struggles that a 150-year-old family-run business faces. Maria Giannini does not delude herself in thinking that leather-bound books hand-decorated in gold leaf can sustain the business.

So, in the ever-swaying balance of preserving tradition and adapting to the modern-day consumer, how does Giulio Giannini & Figlio keep up with the times without sacrificing its identity? Focusing on the future, Maria is emphatic about not clinging to the past, but rather understanding, respecting and honoring it without allowing it to prevent change.

Maria Giannini’s ventures put this attitude into practice. She is currently working on the collation and digitization of her family’s and business’ historical archives, the two of which are, of course, irrevocably intertwined. “We are part of Florence’s history and culture,” she says, explaining the significance of acknowledging Giannini’s history through this labor of love, while also bringing the business into the digital age. Her voice trails off as she rushes to check on the boiling seaweed in the back, describing the task of making digital copies of all of their handmade designs that can be used to print the patterns on objects such as phone cases, marrying past and present in products that can easily appeal to their contemporary clientele. “They are ventures that you always have to carry out delicately,” she explains, “because there’s always this discussion of not losing the artisanal touch.”

When asked about her other ideas for the future, Maria turns to face the 1,500 stamps that loom behind her, each one a work of art in itself. “They’re sleeping in there,” she says. These too have been single-handedly digitised and archived by Maria, one by one. She hopes to one day use them for something other than gold leaf book decoration, awakening them from their slumber and restoring them to their former glory, taking Giulio Giannini & Figlio into the future with a loving nod to its past.

the art scene

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A FLORENCE MUSEUM FOR RENOWNED CONTEMPORARY ARTISTS Roberto Casamonti’s stunning private collection is now open to the public by

Emma Hempstead & Lea Bourgade

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s a city heralded for its rich Renaissance tradition, Florence is far less known for its presence in the contemporary art scene. Just a few steps from the most prominent museums, however, lies a modern art exhibition curated by internationally acclaimed art dealer (and Florentine native) Roberto Casamonti.

The Collezione Casamonti contains exclusively modern and contemporary works — the first of its kind in the city. Palazzo Bartolini Salimbeni, a grand structure built in 1520 once home to a family residence and hotel, hosts the extensive collection.

The current exhibition consists of circa 90 works from the mid-70’s to the 21st century, including pieces by Jean-Michel Basquiat (1960-88), Andy Warhol (1928-87), and Keith Haring (1958-90).

Much of the collection represents the height of the pop-art and graffiti movements, and its subsequent shift from the periphery of the art world to the interior of gallery spaces. One example is Basquiat’s larger-than-life Untitled (1984). The artist was first active in street art before turning to painting. Like many of his contemporaries within the graffiti movement, Basquiat used his works as a means of social commentary, tackling class and race struggles in New York City.

Basquiat’s paintings are characterized by their elements of drawing, poetry, and symbolism, visible in Untitled. It is composed of very bold yellows and greens, with figures and scratchy writing appearing both on and beneath the layers of paint. Certain word formations are quite striking, creating the effect of glimpsing into a personal sketchbook.

Haring, like Basquiat, was also successful in joining the world of fine art with what started as exclusively public murals, such as Tuttomondo Mural, found in Pisa. His style is known to be at once colorful, linear and

A room in Florence’s new Casamonti modern art museum

dynamic. His piece in the Casamonti Collection, also Untitled (1983), not placed far from Basquiat’s, depicts red and black humanoid figures by an animal-like apparatus labeled “TV.” It is unclear whether the people are dancing around or running from it.

The art displayed in the gallery is not solely American. The Italian movement Arte Povera is featured, which strives to represent the relationship between space and language, between the natural and the artificial. Among its representative artists are Alighiero Boetti (1940-94), Jannis Kounellis (1936-2017), and Michelangelo Pistoletto (1933- ). The latter’s exhibit, La Coiffeuse (1980), is composed of wood, cloth, and a mirror. The use of reflection is key to Pistoletto’s work, as it encourages, or even forces, interchange between the viewer and the piece.

As visitors wander through the palazzo’s elegant spaces, the collection encompasses art from countless artistic styles.

Several works seemingly fall under particular thematic ideas, from artworks re-

flecting aspects of nature to pieces with direct connections to musical figures and objects. New Realism is represented by Arman, Spoerri and Christo; the Transavantgarde by Chia and Paladino; Body Art by Marina Abramovic and Vanessa Beecroft, accompanying videos by Bill Viola.

In a quote projected on a wall of the gallery, Casamonti writes: “Each painting is precious to me, because besides narrating its own story, it also narrates a part of mine.” More broadly, he hopes to educate visitors on the story of contemporary art, his mission in Florence since the gallery’s public opening last year.

THE CASAMONTI COLLECTION Palazzo Bartolini Salimbeni, Piazza Santa Trinita 1, Florence.

Open until May 26, 2020 Wednesday – Sunday from 11:30 am to 7 pm.

Admission: €10 (reduced: €8).

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shop & stores

ARMANDO POGGI IN THE 21ST CENTURY A family-run business upholds quality while adapting to changing times by

Emma Hempstead Marco Pardini

photo by

Andrea Poggi in front of the family business

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break from tradition can be an age-old instigator of strife (and subsequent decline) in family businesses, but luckily for both the Poggi family and their customers, gift shop Armando Poggi (via Calzaiuoli 103) owes its success to this very transition.

Armando Poggi, the shop’s founder and namesake, originally created the establishment in 1936 to sell luxury items to a mostly Italian clientele. Until a few months before his death in 2002, the distinguished Armando himself came to the store each morning in a full-piece suit, making sure that the space was running smoothly. The business specialized in exclusive crystal, silver, porcelain, and liste di nozze—that is, “wedding registries,”—a traditional Italian practice. Since then, the store has moved across the street to its current location, but that’s not all that has changed since its opening 83 years ago.

Perhaps one of the largest catalysts for transition within the traditional, family-run Armando Poggi has been that Andrea, its newest leader, is half-American. Born in Florence to the founder’s son, Maurizio Poggi, and an American mother, Elaine, Andrea lived in the city until moving to the Boston area of the United States for college—despite his father’s wish that he take over the business directly after high school. His studies at Babson College in Massachusetts were followed by a five-year stint at Microsoft in New York City. When Andrea moved back to his hometown in 2010, he was enthused about taking over the business, and had plenty of new ideas. “We weren’t afraid to change at the right time,” he says of the shop.

Andrea admits that he and his father, Maurizio, are sometimes at odds regarding the ways, in which they approach Armando Poggi due, in part, to cultural differences. Maurizio has given Andrea the prerogative to modernize the shop how he likes: hosting events, introducing social media, switching up the layout and merchandise, and doing whatever it takes to stay relevant. Even if it is up to Andrea to spearhead these initiatives, he considers his father’s many years of experience with Armando Poggi “invaluable.”

One of the largest shifts in recent years has been augmented accessibility. For many years, the Armando Poggi inventory was made up of luxury household items only, attracting shoppers in the 45+ age range—as Andrea says, “there were very few items in the store under €100.” Now, the shop has widened their offerings to include products, ranging from tablecloths to giftware, from 70 different brands—many of which come at more accessible prices and are geared toward a younger, more à la mode audience. The introduction of jewelry and watches has been a game changer for the business, allowing it to devote a second store to solely Pandora products.

Despite a bit of backlash from shoppers who noted that the store didn’t feel like Armando Poggi anymore after the various changes took effect, Andrea maintains that it is “crucial to adapt to the developing needs of today’s customers.” It is, in fact, the Florentine community that has remained an important presence for the business.

Elegance and quality are the other values that are constants for Armando Poggi, the pillars of the shop never be subject to change. The products are still of only the utmost quality, and many are Made in Italy.

sightseeing

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FINDING DANTE’S CASTLE Medieval castle-hopping in the Tuscany’s Casentino region

Romena Castle

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Katy Rose Sparks photo by Andrea Pistolesi

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t’s every child’s dream to live in a castle. It might be a lot less likely to happen nowadays than it was in medieval times, but it is still possible to visit some, especially in Casentino.

Casentino is a small, lush valley in northern Tuscany, and where the Arno river originates. The small hamlets scattered throughout the valley offer nature walks and a rich history, and the beautiful natural scenery makes it a great visit for any photographer.

The region is also known for being full of medieval castles, with several scattered throughout the valley. The Guidi family were the local nobility and built all the castles in the area.

In the early 14th century Dante was a guest of the Guidi counts at three of the local castles: Porciano, Romena and Poppi. In Porciano in 1311, he wrote his

three famous letters, “To the princes and people of Italy,” “To the Florentines,” and “To Henry VII [Emperor of the Holy Roman Empire],” in which he claimed that he was staying in the castle closest to the source of the Arno River which is the Castle of Porciano.

Porciano Castle was first documented in 1007, as a property of a Guidi nobleman. The castle is a palatial tower, built into the walls that served as the structure’s political and domestic center, a layout not often seen in Tuscany.

Porciano has been in the possession of the Goretti de Flamini family since they purchased it in the 18th century. The castle was abandoned and in disrepair until the arrival of Flaminia Goretti de Flamini.

She met her husband, American soldier George Anderson Specht, in 1945, and theirs was a real-life Hollywood romance.

When Specht had to return to the U.S. after the war and promised to come back to her, no one but de Flaminia believed him.

They were married in 1946.

The couple were both quickly seized by what their daughter, Martha Specht Corsi, refers to as “castle frenzy.” They started to renovate Porciano, which de Flaminia had inherited, in 1963. After the family moved into the top three floors in 1975, they opened a museum beneath them in 1978. Today, their daughter manages the entire estate, and Martha has opened up a section for vacation rentals— with a strict guest policy.

Five vacation homes scattered around the castle’s former walls, comprised of smaller houses and a guard tower, are available for families. The castle itself is a historic residence and available only to “responsible adults,” due to the mixture of family

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sightseeing heirlooms, precious antiques, and artifacts that decorate the guest rooms. The third floor is a large living and dining room with separate kitchen, while those above it are bedrooms, including Specht Corsi’s favorite childhood room as a young woman.

The three floors below are dedicated to the castle museum. The ground level consists of domestic and agricultural artifacts, along with a collection of Native American artifacts which Martha inherited from her father. The first floor has a model of the castle in its original state, complete with before-and-after photos, as well as medieval ceramics recovered from the ruins during renovations. The second floor is the main hall—dubbed Dante’s Hall to assert Porciano as the castle referenced in his letters which now serves multiple purposes and has been used as a performance space.

Porciano Castle is private property, so the museum can only be accessed on Sundays and public holidays from May to October from 10 am to 12 pm and 4 -7 pm.

Romena Castle, on the hill opposite Porciano, is said to have been built in its current architectural style in 1152, though there once was a previous fortifi-

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A bust of Dante in the Casentino

cation on the site that dated back to 1008.

One piece of historical evidence for Dante’s staying in this castle is the inclusion of Adam of Brescia, a goldsmith for the Guidi family, in The Divine Comedy. According to his passage in Inferno, Adam was commissioned by Count Guidi to counterfeit florins. When he was caught, Adam was executed in a nearby locality today known as Omomorto (from uomo morto or “dead man”), and he blames the Guidi family for his fate in Hell.

Subsequent centuries brought hard times for Romena. In 1440, parts of the

castle were destroyed by Milanese troops led by Niccolo Piccinino, and after two earthquakes, one in 1579 and another in 1729, the location was abandoned.

The Goretti de Flamini family bought the property together with the ruins of the Castle of Porciano shortly after, and its popularity began to grow. At one point in 1902, Gabriele d’Annunzio and Eleonora Duse, his muse (read: lover) at the time, visited the ruins of the castle and stayed in the Goretti de Flamini home below. The castle was heavily bombarded during the Second World War as Allied forces tried to flush out the German military from the Tuscan countryside, destroying most of the restoration effort. Reconstruction by various family members continued on-and-off in the following decades, and Martha’s cousin Nicolò Goretti de Flamini currently owns the property, which is open to the public for wandering.

There is little of the original structure that remains both intact and structurally sound. The outer walls are almost completely gone, while a large portion of the inner walls have collapsed to waist height.

The jail tower is as it was originally built, but only the very bottom is open to visitors.

Historically, the tower entrance would have been from above, via a bridge from the top of the castle, but safety concerns make this untenable today. Instead, a door was constructed at the base of the tower, so that visitors may look up into the darkness.

The keep is also still intact, but closed to visitors, due to structural instability.

The palace itself has two rooms open to visitors, the first of which is next to the drawbridge and contains historical objects, such as replicas of medieval weaponry and a model of the castle at the height of its glory. The second is an empty room on the second floor which allows a full view of the castle, accessible by an ivy-twined staircase with a landing that makes for a great photo opportunity.

Romena Castle has different opening hours depending on the month and year.

From April 1 to June 30, it is open Thursday-Sunday from 10 am to 1 pm and 2-6 pm. From July 1 to August 31, opening hours are 10 am to 1 pm and 2-7 pm daily. From September 1 to September 15, the hours are 10 am to 1 pm and 2-6 pm daily. From September 16 to October 31, the castle is open from 10 am to 1 pm then 2-5 pm from Thursday-Sunday. The entrance fee is €3.

health & beauty

T USCANY’ S C ULT U RA L GU I D E

POPES, SAINTS & MEDICI: HOT SPRING PIONEERING VISITORS The appeal of Bagno Vignoni’s thermal waters down the centuries

The main, historical square in Bagno Vignoni

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Elizabeth Wicks photo by Andrea Pistolesi

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he magical spa of Bagno Vignoni in southern Tuscany was the place where a pope, a saint, and a Medici all got into hot water and felt a lot better because of it. During much of her short life, St. Catherine of Siena was a frequent visitor to town, staying with relatives at the Castle of Rocca d’Orcia just across the valley to the south. A 14th-century legend relates that Catherine’s mother had her take the waters at Bagno Vignoni in an ill-fated attempt to cure her of taking the vows. One hundred years later, Pope Pius II built a summer home fronting the thermal waters on the main square, and Lorenzo de’ Medici (Lorenzo the Magnificent) spent much of the year 1490 here (perhaps the Magnificent was trying to get away from politics and Savonarola).

As the numerous archeological finds in the area testify, the thermal water of Bagno Vignoni were well known in Etruscan and Roman times. The hamlet is just off the ancient road from Siena to Rome, still known today as the Cassia, and became part of the Via Francigena used by pilgrims traveling to Rome from France. The healing springs bubble up at 50 degrees Celsius in the main square in the heart of the tiny village, which is actually a rectangular pool enclosed by a stone wall and fronted by buildings that have changed very little on the outside since the Renaissance. On mornings and evenings in warm weather, and on winter days, the watery square is enveloped in a light mist, which adds to the feeling of floating back in time.

Just steps away from the main square, the spring water is brought by conduit directly to the spa at the Hotel Posta Marcucci. The structure, owned and operated by four generations of the Marcucci family, just changed hands in 2017. The new owners, the Costa family, hoteliers from the Dolomites, have made improvements without changing the intimate and relaxed atmosphere of the hotel.

The best feature of the spa is its large thermal pool, set in a large grassy area behind the hotel and overlooking a dreamy landscape of rolling hills with a dramatic view of the Rocca d’Orcia tower just across the valley. Built of creamy local stone, the large pool is connected to a smaller pool from which the healing water, rich in iron, carbonates, and sulphur, pours from two large stone spouts. This is the perfect spot for a liquid neck and back massage for those who can stand the water while at its hottest. The temperature of the smaller pool tops out around 38 degrees, while that of the larger pool ranges from 28 to 32 degrees Celsius.

Snacks, light lunch, smoothies, and fruit extracts are available at the café in the poolside gardens. The hotel restaurant offers more substantial fare, and the Barrino in the piazza above the Hotel is a great place for a relaxing cappuccino or aperitivo and offers live music in the evenings.

From Bagno Vignoni, the historic towns of nearby Pienza and Montalcino are easily reached, as well as the general Val d’Orcia area, including the Park of Mount Amiata.

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centerfield

IN HOT WATER IN TUSCANY Experiencing the region’s hot springs and spa establishments

by

Rita Kungel Stefano Amantini

photo by

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hroughout history, Tuscany’s natural thermal waters have lured people from near and far.

Etruscan temples to the god of health still exist today next to the Chianciano springs, while in imperial Rome, thermal waters were an essential part of a healthy regimen. Roman poet Horace wrote of visiting the hot springs in Siena in the first century BCE, and Lorenzo the Magnificent de’ Medici likewise sought out the waters for arthritic pains.

But the thermal waters of Tuscany also entice modern-day visitors for reasons other than medical treatment. The frenetic rhythm of everyday life, during which causes stress, anxiety, and insomnia, leads to a thirst for calming waters.

Many come to the Hot Springs simply to relax, slow down, and recharge.

A HOT SPRING ITINERARY Winding through southern Tuscany, the road traveling south from Volterra leads to the Valle del Diavolo, or, the Valley of the Devil. In this landscape, somewhat like the surface of the moon, steam billows up from the earth like clouds. The air smells of sulfur. Small craters belch hot water and soil, and crystals on the ground reflect white and yellow minerals.

Poet Dante Alighieri visited the Valle del Diavolo and incorporated the topography into his description of Hell in the Divine Comedy.

The mysterious appeal of the underground still persists today with the thermal waters that emerge from the earth’s surface.

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Deep in the earth’s core, magma— molten rock—collects in chambers, sometimes forming volcanic rock or erupting as lava. Rain and snow seep into the earth’s center, forming lakes around the hot magma, and the earth’s pressure causes the water to bubble up amid the hot rock through cracks in the earth’s crust, eventually emerging as hot springs.

What is it about Tuscany’s thermal waters that have such an appeal, drawing mankind to their showers throughout the centuries?

Aches, breathing problems, infertility, psoriasis, and circulatory maladies are just some of the conditions that mineral water is said to treat effectively. Today, most spas incorporate a wellness program to treat various maladies, based on the particular properties of their water. In the Siena area, water rich in sulfur and calcium is advertised for its relief of joint pain and respiratory ailments. In the north of Tuscany, in Monsummano, the water—containing high levels of magnesium and bicarbonate—is considered depurative and curative for liver, kidney, and skin conditions.

After a three-day, action-packed tour of Tuscany’s tourist spots or a 50-hour workweek, consider a trip south to San Giovanni in Rapolano Terme. Just one hour south of Florence, the three pools beckon the weary to slide in and let the healing waters perform their magic. With a sweeping view of the soothing Tuscan landscape, one can lounge in the pool

The Fonteverde hot spring resort in San Casciano dei Bagni

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centerfield and daydream away stress. Linger for the sunset and enjoy a spritz cocktail on the balcony. With the water flowing from the source at 39ºC, bathers will be warmed even on cool winter days.

Rapolano Terme’s other spa, Terme Antica Querciolaia, boasts an array of travertine-lined pools (outdoors and indoors) of various sizes, shapes, and temperatures. The cold, temperate, and hot waters range between 25°C and 39°C, chock-full of calcium, magnesium, sodium, and potassium.

In winter months, seek out the warmest outdoor pool at Terme Antica Querciolaia, which can only be reached by a covered water tunnel. Exposing only their heads to mild or brisk temperatures, guests at this pool can gather around the hot waterfall, which pours the healing mineral waters directly onto sore necks and aching backs. White mineral sediment gathers on the pool floor, and bathers often scoop up a handful to pat on their faces as a bonus, all-natural facial.

For detoxification and stimulation of the immune system, try a treatment with local mud, mixed with the mineral-rich water and aged for six months. For guests suffering from colds or respiratory ailments, reserve a time in the hamman (Turkish steam bath).

One of the oldest hot springs in Tuscany, Grotta Giusti in Monsummano Terme provides the perfect day trip for the entire family. Situated on the estate of well-known 19th-century poet Giuseppe Giusti, the springs and cavern were discovered by chance by workmen in a limestone quarry. As the laborers explored the cavern and began to sweat profusely, one noticed his chronic joint pain began to subside. Since developed into a therapeutic resort designed to relieve various maladies, people from around the world benefit from the mineral waters.

Guests gravitate toward the spa’s 40 hydro jets, which offer a warm-water massage that stimulates the circulatory and skeletomuscular systems. To enjoy the rejuvenating power of hot steam vapors, one can venture “down under” into the caverns 200 meters below the structures. Divided into three areas—creatively named Paradise, Purgatory, and Hell—the spaces become gradually warmer and steamier, with stalactites and stalagmites providing an appropriately themed background.

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centerfield Fonteverde offers a spa experience of truly luxurious proportions. The hilltop village of San Casciano dei Bagni has, throughout its history, been interconnected with the springs’ therapeutic qualities.

The water of Fonteverde—containing calcium, fluoride, magnesium, and sulfur—flows to the surface at 42°C. The Bioaquam Pool features underwater seating with hydro-massage jets, and the Therapeutic Pool offers a waterfall with swan-neck jets for shoulder and neck therapy, both at 38°C. The Outdoor Pool can provide a refreshing delight during mild weather, augmented by the view of the stunning sunsets that are framed by Mount Amiata.

The spa’s customized therapeutic treatments utilize a holistic approach, treating the individual as a physical and psychological whole and addressing the imbalances that can trigger dysfunction and disease. A fitness center at Fonteverde offers beauty treatments, physiotherapy, and massage. Clients can choose between Oriental techniques—such as Ayurveda, Japanese shiatsu, or Chinese reflexology—and Mediterranean-based treatments based on sea salts, olive oil, and aromatic herbs.

In the 11th century, Countess Matilde di Canossa developed the springs at Bagni di Lucca, proclaiming that all pilgrims and poor people passing through were to be offered a bagno curativo and a meal free of charge. Modern-day pilgrims can join Lord Byron, Napoleon III, Percy Bysshe Shelley, and Johann Strauss to “take to the waters.”

After reliving the “Grand Tour” with a day of hiking or mountain biking in the summer or skiing in the winter, the 33ºC indoor pool with massage jets provide hydrotherapy to relax muscles. The highlight for many is a stint in the grotta, an all-natural, steam-filled cave with a temperature of 45°C, followed by 20 minutes wrapped up in a blanket in the relaxation room.

During warmer weather, the mineral waters of Calidario Terme Etrusche offer a respite only a few kilometers from the Etruscan Coast below Livorno. The natural setting in the Cornia Valley features water flowing into a laghetto, or small lake, with plenty of room for bathers to enjoy the calcium- and magnesium-rich waters. The lake water temperature, thankfully cooler than the air tempera-

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The indoor pool at the Terme Calderaio Etrusche spa.

ture but still warm enough to soothe the weary soul, attracts bathers. With two levels of sun loungers, umbrellas, snack bar, and restaurant, the lake area transforms into a fresh-water beach with a shallow area for children. Bathers seeking a neck and shoulder hydro massage can stand under streams of warm water from the source directly flowing out of the stones.

With facilities all bearing Latin names, the spa includes the Thermarium, a large indoor pool set under red brick arches.

The Laconicum (sauna), and Calidarium (Turkish bath), along with the Tepidarium—filled with warm water and hydro-massage bubbles—and the Frigidarium—a multi-sensory shower enhanced by colored lights, complete the adult-only spa area.

Calidario Terme Etrusche also specializes in weddings, providing a special pampering menu for bridal parties with manicures, pedicures, and an intriguing Berber ritual designed for pre-nuptial purification. The spa’s hotel can be reserved for wedding parties and guests, and celebrants walk up the hill to the onsite 16th-century chapel of St. Lucia for the ceremony.

Situated between Pisa and Lucca, Bagni di Pisa—also known as San Giuliano Terme—provides a sanctuary of cu-

rative treatments. Guests will discover a five-star hotel and full-service spa set in verdant landscaped grounds. The waters flow out of the hillside into the pools and baths.

“Created by nature, made luxurious

by Grand Dukes, and visited by kings,” the spa proudly claims. Built in 1743 for Francis, Grand Duke of Tuscany, the spa residence boasts neoclassical architecture, frescoed ceilings, and marble floors.

The Grand Duke, father of Marie Antoinette, entertained the royalty and literati of Europe in this very space, mingling with King Gustav III of Sweden, King Christian VII of Denmark, and the princesses of England and Monaco.

After a night of partying with 21st-century royalty, guests can visit the Salidarium, a bed of warm salt crystals said to stimulate blood circulation and eliminate toxins. The Grotta of the Grand Duke, a rock-lined cave, contains hot mineral water that, flowing from a small waterfall, creates a steam bath, stimulating the senses and eliminating toxins through perspiration.

Once done with the pools during the daytime, enjoy an evening experience dining at the Dei Lorena Restaurant, framed by views of Pisa’s Leaning Tower.

health & beauty

T USCANY’ S C ULT U RA L GU I D E

FRAGRANCES OF FLORENCE AT SAN SIMONE A centuries’ old herbal shop offers perfumes & personalized, custom-made scents by

Karen Gee photo by Marco Pardini Fernanda Russo at San Simone

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or those looking for a perfume with a long-lasting scent that is neither too sweet nor too light, visit Erboristeria San Simone.

The herbal remedies store sells countless unique perfumes, all handmade from natural ingredients and bases. Fernanda Russo, the owner of the shop, personally makes all her products, which are designed to be kind on the skin. Although her perfumes aren’t specifically for those with sensitive skin, it is a great place to purchase a body spray without the worry of it causing an irritation.

The Erboristeria has been in existence since the 1700s, first established in what is now the Biblioteca delle Oblate as the San Maria Nuova hospital pharmacy. It then moved to Piazza San Simone in 1900, but was called La Bottega del Semplicista. Despite moving to via Ghibellina 190 in 1967, where it is still today, the shop was named after its previous location.

Fernanda offers an array of perfumes from the Finito range.

Scents include musk, tobacco, pepper, vanilla, iris, cedarwood, flower, and citrus grove. Within this product line, there are also feature perfumes thematically linked to le vie di Firenze. Each perfume in this category takes the name of a different street from the city neighbourhoods.

By booking an appointment, it is also possible for customers to make their own perfume, with scents and ingredients individually curated according to individual preferences. Another opportunity is to not just choose the components of your personal perfume, but to make it in a workshop directly on the premises.

Using an olfactory pyramid guide, participants create their own perfume under supervision. They choose three scents to blend together with the shop’s alcohol component, following a formula structure that ensures their perfume has a Head, Heart, and Body component, which form the three pillars of the perfume pyramid guide.

Starting at the bottom of the pyramid, clients must choose their body fragrance. This is the longest-lasting component of the perfume—the base scent that can remain on the body for up to 10 hours. Recommended scents include cedarwood or musk.

At the centre of the pyramid sits the Heart, the main fragrance of the overall product. Such scents are typically floral, herbaceous, or aldehyde-like.

The Head is the initial scent that one can smell immediately after spraying the perfume, generating that all-important first impression. The shop usually recommends a plump, fruity, or herbaceous scent for the Head.

The shop hosts the La Scuola Italiana del Profumo, the Italian School of Perfume, which offers a short, intensive course in the process of perfume making. Booking is required.

Perfume and cosmetics are not the only two products that are sold at this herbal remedy shop. As the name suggests, also available is a selection of herbal teas and spices, as well as room diffusers. L’Erboristeria San Simone also sells an array of body products such as creams and lotions, face masks, and shower gels. These, too, can be personalized.

Fernanda fondly recalls having a steady and continuous clientele, with rare quiet times punctuated by curious passersby.

The shop appeals to a varied clientele across demographics, attracting tourists, locals, and self-care connoisseurs. In a city like Florence, full of culture, art and fashion, L’Erboristeria San Simone has a special niche.

For more information, visit www.anticaerboristeriasansimone.it.

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buon appetito!

THE TRUE FLORENTINE STEAK EXPERIENCE Tips on finding a good bistecca alla fiorentina by

Alex Harrison

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uch of Florentine cuisine is based in Tuscany’s peasant tradition; simple, seasonal meals that rely on quality ingredients for the flavors that keep them ever popular.

Bistecca alla Fiorentina, Florence’s version of a T-bone steak, is similarly dependent on simplicity and quality, but a hearty serving of meat was hardly part of everyday life for the average Tuscan. This makes bistecca, of all the local dishes worth seeking out during your time in the city, perhaps the most essential dining experience.

Historically, bistecca alla fiorentina is said to date back to the Medici era, when beef was served to the general public in celebration of the feast day of San Lorenzo. Supposedly, in 1565, a group of English knights were present for the festivities and referred to their meal as a “beef steak” — locals liked the name and Italianized it into “bistecca,” a name the dish still carries.

Today, however, bistecca alla fiorentina is not defined by how it is prepared, and the strict instructions that guide its making are part of what makes the Florentine specialty so noteworthy.

Bistecca can be made with the meat from a few different breeds of cattle, but tradition demands the Tuscan Chianina, one of the largest and oldest breeds in the world. High demand can make Chianina steak somewhat difficult to obtain, and the quality of the meat alone is often enough to justify the dish’s price tag. Bistecca meat must also be dry-aged for two to three weeks, which allows its natural enzymes to break down muscle tissue and give

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the steak its characteristic tenderness. Large, thick T-bone steaks are then covered in salt (restaurants frequently have their own unique aromatic salt that they keep a trade secret) and grilled using either wood or charcoal at high temperatures for only a few minutes. This creates a nice char on the outside and keeps the meat rare—bistecca gets tough if cooked for too long, and must be served al sangue (rare) for optimum taste and texture. Request a different temperature at your own risk.

For the optimum experience, seek out a restaurant known for the dish that takes their craft seriously, like Boccanegra (via Ghibellina 124/r, Florence). Located in a former Medici-owned building from the 1200s, Boccanegra is divided into three sections — Ristorante, Osteria, and Cantinetta — each with its own menu and atmosphere, and bistecca alla fiorentina is available in all of them.

Chianina steak is available for dinner service, and their trained wait staff slices the perfectly cooked meat tableside and dress it with pepper and a drizzle of olive oil. The focus on local cuisine provides all the classic side dishes, and the extensive wine cellar ensures your glass of red will be perfectly paired.

It is customary, if not outright required, that bistecca be shared between at least two people —a lucky thing, because the minimum cut weighs 1.2kg (2.6lbs). Boccanegra’s Cantinetta is open for lunch Monday through Saturday from 12-2:30 pm, while the Ristorante and Osteria serve dinner from 7 pm to midnight on the same days.

music & dance

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MUSIC CALENDAR OCTOBER 8

Tuesday at 9 pm Sala Mazzoni, Italian Dante Society via dell’Arte della Lana, 1 FIESOLE QUARTET with soloists Alina Company and Simone Ferrari (piano), Flaminia Zanelli (viola) Sandra Bacci (cello) and the participation of Vladimir Mendelssohn (viola).

Music of Beethoven and Mendelssohn

12 Saturday at 4 pm

Teatro della Pergola

ITALIAN YOUTH CHAMBER ORCHESTRA with soloists Katia & Marielle Labèque (piano) and Maria Cassi (narrator)

Music of Glass, Bernstein, and Saint Saens

Saturday at 8 pm

Teatro del Maggio, Piazzale Vittorio Gui, 1

FERNANDO CORTEZ

Opera by Gaspare Spontini

13 Sunday at 8 pm Teatro del Maggio, Piazzale Vittorio Gui, 1 CARMEN

Opera by George Bizet

Sunday at 9 pm Santa Croce Refectory, Piazza Santa Croce FLORENCE CHAMBER ORCHESTRA conducted by Giovanni Varoli with soloist Giuseppe Gullotta (piano) Music of Tridico, Rota, and Mozart

Sunday at 9 pm

Teatro della Pergola, Saloncino

VOICE & PIANO RECITAL

with soloists Luca Pisaroni (baritone) and Malcolm Martineau

Music of Beethoven, Reichardt, and Schubert

14 Monday at 9 pm FLORENCE CHAMBER ORCHESTRA

(see Sunday, 13)

Monday at 9 pm ITALIAN YOUTH ORCHESTRA conducted by Giovanni Gnocchi (cello) Music of Mozart, Gulda, Schubert and Dvorak

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Wednesday at 8 pm Teatro del Maggio, Piazzale Vittorio Gui, 1 FERNANDO CORTEZ Opera by Gaspare Spontini

17 Thursday at 8 pm

Teatro del Maggio, Piazzale Vittorio Gui, 1 CARMEN

Opera by George Bizet 18 Friday at 8 pm

Teatro del Maggio, Piazzale Vittorio Gui, 1 CARMEN

Opera by George Bizet 19 Saturday at 3:30 pm

Teatro del Maggio, Piazzale Vittorio Gui, 1 CARMEN

Opera by George Bizet

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Sunday at 3:30 pm Teatro del Maggio, Piazzale Vittorio Gui, 1 FERNANDO CORTEZ Opera by Gaspare Spontini

Sunday at 9 pm Teatro della Pergola PIANO RECITAL by Angela Hewitt (piano) Music of Bach

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Monday at 9 pm Teatro della Pergola, Saloncino PIANO RECITAL by Angela Hewitt Music of Bach

22 Tuesday at 8 pm

Teatro del Maggio, Piazzale Vittorio Gui, 1 CARMEN Opera by George Bizet 23

Wednesday at 8 pm Teatro del Maggio, Piazzale Vittorio Gui, 1 FERNANDO CORTEZ Opera by Gaspare Spontini

25 Friday at 8 pm Teatro del Maggio, Piazzale Vittorio Gui, 1 CARMEN

Opera by George Bizet

Friday at 9 pm

Teatro Verdi, Via Ghibellina, 99

ORCHESTRA DELLA TOSCANA &

ITALIAN YOUTH ORCHESTRA

conducted by Daniele Rustioni

with soloist Donato De Sena (trumpet)

Music of Di Cecca, R. Strauss, Stravinsky, and Ravel 26

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Saturday at 4 pm Teatro della Pergola KELEMEN QUARTET with soloist Alessio Allegrini (French horn) Music of Cherubini, Bartok and Mozart Sunday at 9 pm Santo Stefano al Ponte, via Por S. Maria FLORENCE CHAMBER ORCHESTRA conducted by Giuseppe Lanzetta with soloist Bruno Canino (piano) Music of Lanzetta, Mozart, and Beethoven

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Sunday at 9 pm Teatro della Pergola, Saloncino KELEMEN QUARTET with soloist Andreas Ottensamer (clarinet) Music of Schubert, Brahms, and Beethoven

Monday at 9 pm Teatro della Pergola PIANO RECITAL by Arcadi Volodos.

Music of Liszt and Schumann

Monday at 9 pm FLORENCE CHAMBER ORCHESTRA (see Sunday, 27)

NOVEMBER

2 Saturday at 4 pm

Teatro della Pergola

PIANO RECITAL

by Piotr Anderszewski (piano)

Music of Bach, Schumann, and Beethoven

by

Sierra Case

3 Sunday at 9 pm

Teatro della Pergola, Saloncino

VOICE & PIANO CONCERT with Lisa Larsson (soprano) and Andrea Lucchesini

Music of Schubert and Schumann 9 Saturday at 4 pm

Teatro della Pergola

PIANO RECITAL

by Beatrice Rana (piano)

Music of Chopin, Albeniz, and Stravinsky 10 Sunday at 9 pm Santa Croce Refectory, Piazza Santa Croce

FLORENCE CHAMBER ORCHESTRA

conducted by Giuseppe Lanzetta

with soloists Patrizia Cigna (soprano)

Vladimir Reutov (tenor)

Raffaele Chieli (trumpet) and Eugenio Milazzo (piano)

Music of Morricone, Rota, Carmichael, Gershwin,

Loewe, Sinatra, and Bernstein

11

Sunday at 9 pm Teatro della Pergola, Saloncino TAKÁCS QUARTET Music of Haydn, Bartok, and Mendelssohn Monday at 9 pm FLORENCE CHAMBER ORCHESTRA (see Sunday, 10)

Monday at 9 pm

Teatro della Pergola, Saloncino

CELLO & MANDOLIN CONCERT with Giovanni Sollima and Avi Avital

Music of Rossi, Vivaldi, Marcello, G. Sollima,

Castello, Avital, Finzi, and E. Sollima 12

Tuesday at 9 pm Teatro Verdi, Via Ghibellina, 99 ORCHESTRA DELLA TOSCANA conducted by Evgeny Bushkov with soloist Ilya Gringolts (violin) Music of Tchaikovsky and Beethoven

15 Friday at 8 pm

Teatro del Maggio, Piazzale Vittorio Gul, 1 IL TABARRO / SUOR ANGELICA GIANNI SCHICCHI

Operas by Giacomo Puccini 16 Saturday at 4 pm

Teatro della Pergola

WIENER KLAVIERTRIO

with soloists David McCarroll (violin)

Clemens Hagen (cello) and Stefan Mendl (piano)

Music of Beethoven

Saturday at 8 pm

Teatro del Maggio, Piazzale Vittorio Gui, 1 RIGOLETTO

Opera by Giuseppe Verdi 17 Sunday at 3:30 pm

Teatro del Maggio, Piazzale Vittorio Gui, 1 IL TABARRO / SUOR ANGELICA GIANNI SCHICCHI

Operas by Giacomo Puccini

23

music & dance

Sunday at 9 pm

Teatro della Pergola, Saloncino

CHAMBER MUSIC CONCERT with Gilles Apap (violin)

Alessandro Carbonare (clarinet) and Roberto Prosseda (piano)

Music of Menotti, Gershwin, Bennett, Poulenc, and Ravel

Saturday at 8 pm

Teatro del Maggio, Piazzale Vittorio Gui, 1 IL TABARRO / SUOR ANGELICA GIANNI SCHICCHI

Operas by Giacomo Puccini 24 Sunday at 3:30 pm

Teatro del Maggio, Piazzale Vittorio Gui, 1 RIGOLETTO Opera by Giuseppe Verdi

18 Monday at 9 pm

Teatro della Pergola, Saloncino

EMERSON STRING QUARTET

Chamber concert

Music of Mendelssohn, Shostakovich, and Dvorak

Sunday at 9 pm Teatro della Pergola, Saloncino THE TALLIS SCHOLARS Music of Palestrina, Morales and Josquin

26 Tuesday at 8 pm

Teatro del Maggio, Piazzale Vittorio Gui, 1 RIGOLETTO Opera by Giuseppe Verdi

30 Saturday at 4 pm Teatro della Pergola

CUARTETO CASALS

with soloist Alexander Lonquich (piano) STAGIONE

Music of Beethoven, Mozart,CONCERTISTICA and Schumann

19 Tuesday at 8 pm

Teatro del Maggio, Piazzale Vittorio Gui, 1 RIGOLETTO

Opera by Giuseppe Verdi

Daniele Rustioni

XXXVII

20 Wednesday 8 pm direttoreatprincipale

Teatro del Maggio, Piazzale Vittorio Gui, 1 IL TABARRO / SUOR ANGELICA Thomas Dausgaard direttore onorario GIANNI SCHICCHI Daniele Rustioni

Operas by Giacomo Puccini

2017 / 18

2 Monday at 9 pm

Teatro della Pergola, Saloncino

GAMO ENSEMBLE conducted by Francesco Gesualdi (accordion)

with soloist Roberto Fabbriciani (flute)

Music of Mozart and Part 7 Saturday at 4 pm

Teatro della Pergola PIANO CONCERT by Andrea Lucchesini, Federica Bortoluzzi, and Edoardo Turbil

Music of Schubert, Schumann, Brahms, and Schumann 8

Sunday at 9 pm Teatro della Pergola, Saloncino CONCERTO ITALIANO conducted by Rinaldo Alessandrini Music of Bach

14 Saturday at 4 pm

Teatro della Pergola

THE KING’S SINGERS

Music of Praetorius, Palestrina, Berlioz, Poulenc, Chilcott,

Howells, Warlock, and Tchaikovsky

XXXVII

Saturday at 9 pm Teatro Verdi, Via Ghibellina, 99 Direttore artistico 22 Daniele Friday at 8 pm ORCHESTRA DELLA TOSCANA Rustioni Giorgio Battistelli Saturday at 8 pm STAGIONE CONCERTISTICA Dausgaard principale Xdirettore Teatro del Maggio, conducted by soloist Anna Fusek (flute)

Teatro del Maggio, Piazzale Vittorio Gui, 1 direttore onorario Vittorio Gui, 1 XX XX V I II Thomas II I Piazzale X V 2017 / 18LA BOHÈME Opera by Giacomo Puccini RIGOLETTO in honor of Tuscany Day Gile Bae STAGIONE CONCERTISTICA T A G IDausgaard O S TA IBorrani ONNEVerdi E S Thomas Opera byG Giuseppe Music of Telemann, Handel, Yun, and Vivaldi TEATRO Lorenza direttoreVERDI onorario viaC Ghibellina, Firenze 2017 / 18 Direttore artistico 15 Sunday at 8 pm OO N99Michele C ECampanella RRT TI S TTI C AA C N C E I S I C Giorgio Battistelli 23 Saturday at 4 pm

Teatro del Maggio, Piazzale Vittorio Gui, 1 Alessandro Carbonare 20 1 81 della Direttore artistico 0 8/ Pergola /2 2001 9 19 2 Teatro

CENERENTOLA (CINDERELLA) Frédéric Chaslin Gile Bae Giorgio Battistelli

PHILHARMONIA CHAMBER PLAYERS

Dance performance 4 novembre 1 aprile Francesca Lorenza Dego Concerto di Inaugurazione Borrani 1 Sunday atJULIAN 9 pm KOVATCHEV direttore

with soloists ISAAC KARABTCHEVSKY direttore Dindo PIETRO DESaloncino MARIA pianoforte Bae Enrico Michele Campanella AHLERTeatro della Pergola.

Sunday at 9 pm Gile Gabriele Pieranunzi (violin) J. STRAUSS/BERG, J. STRAUSS/SCHÖNBERG, M CHOPIN Ryan McAdams Lorenza Borrani Alessandro Carbonare

CUARTETO CASALS Chamber concert

Teatro della Pergola, Saloncino and Jin Ju (piano) 17 novembre 12 aprile Mozart, and Beethoven Chiara Morandi

Music of Haydn, Frédéric Chaslin

CHAMBER MUSIC CONCERT Michele MusicCampanella of Ravel, Franck, and Chausson GABRIELE FERRO direttore YOEL LEVI direttore Oue Carbonare

with soloists Lorenza Borrani (violin) G iAlessandro igo tattitsitDego lellil i Francesca GoirogrEiji i oB a B setFRANCESCA DEGO violino ANNE GASTINEL violoncello BEETHOVEN, CHERUBINI RAVEL, SAINT-SAËNS, BIZET George Pehlivanian

Maia Cabeza (violin), Simone Jandl (viola) Dindo d i rFrédéric e ra st ti si ct io dei tr teot trChaslin o e r at irEnrico co

Max Mandel (viola) Nicola Francesca DegoPiovani 1 dicembre Ryan McAdams 20 aprile SYMPHONY Concerto di Pasqua and Luise Buchberger (cello) Enrico Dindo Dnain ileel eRRadulovic R utsMorandi oGUANGZHOU n Da eNemanja u s itoi n i i Chiara ORCHESTRA ISAAC KARABTCHEVSKY direttore

Music of Mozart Ryan MAHLER Das Lied von der Erde d i r eMcAdams t tBeatrice o r e pRana rEiji i nOue cipale direttore principale

XXXVII

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Wednesday at 8 pm Teatro del Maggio, Piazzale Vittorio Gui, 1 CENERENTOLA (CINDERELLA) Dance performance

19 Thursday at 8 pm

Teatro del Maggio, Piazzale Vittorio Gui, 1

LA BOHÈME Opera by Giacomo Puccini 20

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16 Monday at 9 pm

Teatro della Pergola

CELLO & PIANO RECITAL with Mario Brunello and Andrea Lucchesini

Music of Janacek, Chopin, Franck and Hahn

24 Tuesday Teatro Verdi, Via Ghibellina, 99

ORCHESTRA DELLA TOSCANA

CHRISTMAS CONCERT

conducted by Paolo Bortolameolli

with soloist Dmitry Masleev (piano)

Music of Tchaikovsky and Dvorak

music & dance

T USCANY’ S C ULT U RA L GU I D E

A NEW SEASON OF CLASSICAL MUSIC A look at the program of Florence’s principal theatres

by

Anne Lokken

The Orchestra della Toscana conducted by Daniele Rustioni

A

fter a busy summer of outdoor music festivals throughout the region, the classical music scene returns to Florence’s center stage. The Teatro del Maggio spotlights opera productions, the Orchestra della Toscana (ORT) focuses on symphonic concerts, and Amici della Musica organizes Florence’s premier chamber music series, held as always in the 17th-century gem Teatro della Pergola.

MAGGIO THEATRE The Maggio Musicale Fiorentino opens its 2019-2020 opera season with a rarity, Fernand Cortez by Gaspare Spontini.

Napoleon Bonaparte called on Spontini to compose a new opera, intended as political propaganda to support the Emperor’s invasion of Spain in 1808 and based on the story of Fernand Cortez, a legendary 16th-century Spanish explorer involved in the conquest of Mexico. Cortez symbolizes Napoleon while the “savage” Aztec priests are meant to represent the Spanish Inquisition.

Considered the first work in the style of “grand-opéra,” never had so much money been spent on such a production. It was debuted in Paris on November 28, 1809 in the presence of Napoleon himself, with sumptuous sets, a grand orchestra, and special effects including 17 live horses charging on the stage. The addition of a love story between Cortez and the Aztec princess Amazily secured the guaranteed success of the opera (staged on October 12, 16, 20, 23).

The season will continue with a series of audience favorites. Carmen by Georges Bizet is on the calendar for seven

performances (October 13-25). One of the most popular operas of all time, sadly the piece wasn’t a success when it was first performed in Paris in 1875. The audiences were scandalized and shocked by the story of love and jealousy between the wild gypsy Carmen and the naive soldier Don Jose. Marina Comparato and Karina Demurova (the latter on October 15, 18, 22) appear in the role of Carmen.

Giacomo Puccini will be represented in November (15,17, 21, 23) with the Triptych of one-act operas Il Tabarro, Suor Angelica, and Gianni Schicchi. The subject of the final of the three is taken from an episode of Dante’s Inferno from the Divine Comedy and includes the lovely aria “O mio babbino caro,” a favorite with Florentine audiences.

Rigoletto, one of Giuseppe Verdi’s masterpieces, will have five performances (November 16 - 26). It tells the sad tale of the hunchbacked court jester at the court of Mantua, and his innocent daughter Gilda’s tragic end. With Renato Palumbo on the podium, the role of Rigoletto will be interpreted by Luca Micheletti.

Following is another favorite, Puccini’s La Bohème, the love story between the young seamstress Mimì and the bohemian poet, Rodolfo. The world premiere performance took place in Turin on February 1, 1896 and was conducted by the young Arturo Toscanini. The Maggio Theatre offers six dates (December 14, 17, 19, 21 and January 3, 5) led by Francesco Ivan Ciampi.

With a modern version of the classic story, the Compagnia Nuovo Balletto di Toscana will present the ballet Cinderella, choreographed by Jiři Bubenicek, in December (15,18, 20).

25

music & dance VERDI THEATRE The Orchestra della Toscana will hold its inaugural concert of the season on October 25. Joining forces with the Italian Youth Orchestra, based at the Scuola di Musica di Fiesole, music director Daniele Rustioni conducts a program of 20th century symphonic classics. Richard Strauss’ tone poem Also sprach Zarathustra is particularly wellknown for being the thematic music of the Kubrick film, 2001: A Space Odyssey.

Pétrouchka by Igor Stravinsky, composed for the Ballet Russes in 1911, will be followed by Ravel’s La Valse. The performance begins with a new work—In cerchi concentrici per tromba e orchestra (Concentric Circles for Trumpet and Orchestra)—by Di Cecca, featuring Donato De Sena, principal trumpet of the ORT. On November 12, Evgeny Bushkov takes the podium for a rendition of the Tchaikovsky Violin Concerto, with Ilya Grigolts (b. 1982), first-prize winner of the Paganini Competition in 1998 as soloist. The concert concludes with Beethoven’s Pastoral Symphony, n. 6, its full title being, “Recollections of Country Life.”

The traditional Christmas concert on

26

December 24 sees Paolo Bortolameolli, the recently appointed Associate Conductor of the Los Angeles Philharmonic, conducting the excitingly romantic Tchaikovsky Concerto n. 1 for piano, with guest artist Dimitry Masleev. The young Siberian musician (b.

1988) won the First Prize and Gold Medal at the 2016 International Tchaikovsky Competition. The evening concludes with the “New World” Symphony by Antonín Dvořák, composed in 1893 while he was living in New York.

PERGOLA THEATRE The inaugural event on October 12 of the historical association, Amici della Musica di Firenze, will be a performance by the brilliant French duo, sisters Katia & Marielle Labèque.

Though they are classically trained, the sisters have incorporated many other genres into their performances, such as flamenco, baroque, and jazz. They have their own record label, KML Recordings, and foundation, Fondazione Katia & Marielle Labèque, which they use to support young musicians as a bridge in contemporary creation.

The season continues with recitals of the finest pianists, string quartets, and instru-

mentalists on the music scene today. One of the later events, on December 14, will be performed by the King’s Singers, an all-male a cappella group from England. The ensemble was initially formed at King’s College, Cambridge in 1968. Although various members have come and gone over the years, the original combination of vocal ranges is unchanged: two countertenors, one tenor, two baritones, and one bass. The King’s Singers’ primary goal, to spread the joy of ensemble singing via performances, workshops, and courses, has remained the same since its founding.

Their mission is certainly one with which The Amici della Musica would be on board. Since 1920, the Florentine foundation has worked to make traditionally elitist concerts both accessible and affordable to everyone, especially young people. For university students under the age of 30, tickets are €10 each, while students attending music schools only pay €5 each.

All performances will be at the Teatro della Pergola, the beautiful, richly decorated performance space that has been representative of Florence’s history of theater, music, and dance since it opened in 1657.

notes

T USCANY’ S C ULT U RA L GU I D E

IN TOWN & AROUND NATALIA GONCHAROVA As Palazzo Strozzi proves—one exhibition at a time—Florence is not only the epicentre of classical art, but is also playing an increasingly central role in the arena of modern art.

The autumn will showcase Natalia Goncharova, A Woman and the Avant-Garde from Gauguin to Matisse and Picasso. The vibrant collection of over 150 works, organized in collaboration with London’s Tate Modern, is celebrating this extraordinary female figure that helped to shape the avant-garde movement of the early 20th century.

Goncharova’s works will be juxtaposed with those of her male contemporaries who served as her reference points, including Paul Cézanne. She incorporated Matisse’s joyful colour palette, Picasso’s constructive force, Gauguin’s primitivism, Chagall’s ethereal atmosphere and Boccioni’s dynamism to create her own distinctive and highly personal artistic identity. The display will take the visitor between Moscow and Paris, two cities of significance to Goncharova, in order to uncover the Russian artist’s anti-conformist biography and the honing of her style that marries tradition and innovation and East and West. (saskia brown)

movement that influenced the Russian painter and her artistic revolution. Bright reds, agate/alabaster and an amethyst violet are the main colors. Characterized by harmonious, almost abstract geometric shapes, Alabastro reflects unconventional design and a touch of humor combined with elegance. Caputi is renowned for mixing unconventional materials such as plastic and other synthetic substances to create textured accessories that are oneof-a-kind, like the artist herself. (mary filatova)

A necklace from Caputi’s ‘Alabastro’ collection

business outfit or the vivid look of a true fashionista.

The “Alabastro” line—comprising earrings and necklaces—strongly reflects Goncharova’s paintings, referencing shapes and palette of the Italian Futurist

L’EREDITA’ DELLE DONNE L’Eredità delle Donne (The Legacy of Women) is a festival devoted to the celebration and empowerment of women, whose contributions to Florence have been historically overlooked. By incorporating a variety of media, the initiative’s series of events seeks to disseminate a philosophy around the city and engage with the public, creating an atmosphere

’ALABASTRO’ BY ANGELA CAPUTI Angela Caputi founded her company—with a name derived from a youthful nickname “Giuggiù”—in the heart of Florence’s Oltrarno neighborhood in 1975, with the vision of designing vibrant accessories. Over 40 years later, Caputi is recognized worldwide thanks to her creative, stylish costume jewelry with the prestigious “Made in Italy” label.

“Alabastro” is a new Caputi collection inspired by the Russian avant-garde artist Natalia Goncharova (1881-1962). She is the subject, along with her artistic contemporaries at the first exhibition at Palazzo Strozzi ever devoted to a modern female artist.

Caputi’s bijoux demonstrate individuality in addition to a well-thought out conceptualism and boldness in design. Her jewelry is quite versatile and can be easily adapted to complement either a sober

27

notes of inclusivity during its three-day run.

The festival will begin on October 4 at the Teatro della Pergola with a panel entitled “La città delle donne” (The City of Women), which hopes to spark dialogue around the notion of how various cities would be if they were conceptualized by today’s female leaders. The conversation will include female entrepreneurs, architects, and other professionals. The discourse will examine Florence’s past and present under the roof of one of the city’s most historical buildings, constructed in 1656.

It is in this same location that “Vieni Avanti Cretina” (Ahead, Idiot), a theatre performance in stand-up comedy style, will take place on October 5. Every participant will be female, with two very famous Italian actresses among them: Lucia Poli and Franca Valeri.

50 Shades of Pink is a rather cliché-sounding title for the empowering conference scheduled for October 5 and 6, designed as an international, summit-style encounter between some of the most prominent female figures of our age.

Topics will range from science to politics to sports, and all conversations will be

oriented towards the future. Two activist leaders from abroad will be present as special guests: Marta Dillon, Argentinian founder of grassroots feminist movement Ni Una Menos; and Miriam Toews, Canadian author and vocal critic of domestic violence. This event, like so many others within the festival, will encourage the public to take an unshrinking look at some of the most pressing issues women face today.

Women authors will be involved in a series of presentations that will occur in literary café-style events throughout bookstores around the city. Further details about the program can be found at www.ereditadelledonne.eu. (emma hempstead) WOMEN REEVALUATED IN PAINTING L’Eterna Musa exhibition comprises 40 works created between the 19th and 20th centuries, each depicting an extraordinary woman, whether she be peasant or noble, worker or housewife. L’Eterna Musa explores how the art of painting has chronicled the transformation of female roles over time. Not only is there variety

in the female identities on display, but also in the styles of painting. This is not too surprising, considering the number of artistic movements that came into existence, flourished, and faded out during this timeframe.

Although the exhibits vary greatly, their shared theme of womanhood creates a single, unified ensemble. In this vein, the exhibition catalogue organizes the works based on the characteristics of each female subject, rather than artistic style. It is instead ordinary women from all walks of life that are on display: “anti-divas,” a term typically attributed to female celebrities whose fame does not depend upon the approval of the masses.

The show intends to raise the question regarding which type of women society should look to for inspiration.

The Centro Matteucci per l’Arte Moderna, a modern art museum located in Viareggio, is a space for the celebration of 19th and 20th art. It has since become a culturally and socially important institution; something one might not expect to find in a town best known for its beaches and the Tuscan carnival. (emma hempstead)

Calendar Until January 12 NATALIA GONCHAROVA A WOMAN AND THE AVANT-GARDE FROM GAUGUIN TO MATISSE AND PICASSO Palazzo Strozzi, Piazza Strozzi Open daily 10 am – 8 pm Thursday 10 am – 11 pm Admission: € 13 October 4, 5, 6 L’EREDITÀ DELLE DONNE THE LEGACY OF WOMEN Various venues throughout Florence Free admission Until November 3 L’ETERNA MUSA THE FEMALE UNIVERSE BETWEEN 19TH & 20TH CENTURIES Centro Matteucci Via D’Annunzio 28, Viareggio Open Tuesday to Sunday 3:30 – 7:30 pm Saturday and Sunday 10 am – 1 pm 3:30 – 7:30 pm Admission: € 8 ______________________________ ***All events are in Florence unless otherwise specified

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eonardo da Vinci, born in Tuscany and claimed by Tuscans as their greatest genius, had an infinite curiosity encompassing art, science, architecture and ideas for numerous practical inventions. One might even say he envisioned robots centuries before they were invented — his journals contained drawings of an armored knight which had the capacity to move its head, sit up and wave it arms by means of a pulley and cable system. The great genius spent the last three years of his life in France with failing health and partial paralysis of his right hand, probably the result of strokes. Legend describes his last words as, “I have offended God and mankind because my work did not reach the quality it should have.”

Throughout 2019, Tuscany has commemorated the 500th anniversary of da Vinci’s death, and shows continue this fall.

Many of the events focus on his endeavor to explore the connection between art and science, which da Vinci saw as complementary disciplines, once stating: “Art is the queen of sciences.”

Above and following page: exhibits from the ‘Botany of Leonardo’ show

A GRAND FINALE FOR THE DA VINCI YEAR Shows celebrating the Renaissance genius throughout Tuscany by

Rita Kungel

EVENTS IN FLORENCE Santa Maria Novella, where da Vinci spent a period of time from 1504-1505, offers the public an opportunity to explore his studies of the plant world with The Botany of Leonardo: A Vision of Science Bridging Art and Nature. Accessible through December 15, this interactive exhibition follows his research in the interconnectedness between art, science, and nature, opening up the contemporary conversation of scientific evolution and ecological sustainability. The starting point is a group of pictures of da Vinci’s sketchbooks featuring drawings of plants and research on flora.

For further information, see the show website: www.leonardodavincibotany.com.

From October 10 to December 1, the Galileo Museum will host Leonardo da Vinci and Perpetual Motion, exploring the search for the perfect machine, a quest that has frustrated engineers and philosophers for centuries. Da Vinci studied perpetual motion before concluding that it cannot exist in nature, and drawings of devices from his notebooks will be featured alongside recreated models of some of those machines. Animated images allow visitors to “watch” his ingenious solutions and follow his reasoning step by step. Located in Piazza dei Giudici, the Galileo Museum is open Monday through Sunday from 9:30 am to 6 pm, except Tuesday, when its hours are 9:30 am to 1 pm. Check out www.museogalileo.it for further details.

Through January 12, 2020, Palazzo Vecchio is hosting Traces of the Battle of Anghiari, a fascinating exploration of the search for da Vinci’s painting Battle of Anghiari in the Salone dei Cinquecento of Florence’s city hall. Commissioned to paint a battle in which Florentine forces defeated the Milanese, the artist decided to experiment with a new painting technique utilizing wax, and the painting began to melt before he could complete it. Art historians, including National Geographic-funded Maurizio Seracini, have been searching for the lost masterpiece using multispectral imaging and analytical technology, ironically reflecting da Vinci’s love of science, art and engineering as complementary fields. On the trail of the artist’s famous unfinished work, a tour route begins in the Salone dei Cinquecento.

A video with 3-D models tells the story of the historical Battle of Anghiari and the transformations that the Palazzo Vecchio has undergone down the centuries. Entrance to “Traces of the Battle of Anghiari” is included in the ticket to Palazzo Vecchio.

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focus EVENTS IN VINCI This small town an hour’s drive from Florence makes the most of its famous son in 2019, hosting events throughout the year.

The Leonardo Museum in the Piazza dei Conti Guidi offers one of the most extensive and original collections devoted to the vast pursuits of the architect, inventor, engineer, and scientist. The exhibits are described in Italian, so for non-Italian speakers it’s recommended to download the app with information in English, German, French, and Spanish. The museum includes working models of his inventions—from a steam cannon to a bicycle, from a spinning machine to a three-speed hoist, and scores more— impressing on the visitor da Vinci’s vast knowledge and curiosity. An area devoted to his anatomical studies of the human body gives a close-up view of the muscular skeletal system and its physiology. Hardy visitors who climb up 124 steps to the panoramic terrace of the Castello Guidi are rewarded by a vista of breathtaking scenery.

Through October 15, visitors can view a special exhibition, The Origins of Ge-

nius, of da Vinci’s landscape drawings of the surrounding Arno and Nievole river valleys executed in his early years, including his earliest known work dated August 5, 1473, when he was 21 years old. Included are multimedia creations and reconstructions of da Vinci’s projects related to the area around Vinci, integrating the museum’s collection of machines and models he designed with hydraulic engineering plans and maps drawn of

the valley. The display portrays a glimpse into the Renaissance man’s future interests: his fascination with water, his profound interest in nature and geology, and his continuing research into science and engineering.

The Casa Natale of Leonardo (Leonardo’s Family Home) lies just three kilometers (1.8 miles) outside Vinci. It was here that da Vinci was born on April 15, 1452 out of wedlock to Piero Vinci and a woman named Caterina. In the rustic simplicity of the farmhouse, visitors can become acquainted with the genius on a more personal level. Modern technology allows one to appreciate his painting via digital reproduction. One can drive there easily, but to further enjoy the countryside try walking the Strada Verde (Green Route), a historic path through the olive groves.

Tickets to the Leonardo Museum and the Birthplace are €7 each, and a combined admission to visit both museums costs €11. Hours from March through October are 10 am to 7 pm daily. For more information, visit www.museoleonardiano.it.

CERRETO GUIDI Through January 7, 2020, the medieval town of Cerreto Guidi, just a 10-minute drive from Vinci, is hosting The Flight of Pisanello and Leonardo, a show in the Villa Medici Cerreto Guidi, the Medici family’s private hunting lodge. The venue of a museum of hunting and falconry, additional focus will be place on da Vinci’s studies of birds that inspired his own flight experiments. The Villa Medici is open daily from 9 am to 6 pm, but is closed on the second and third Mondays of the month.

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TUSCAN CUISINE, GILDA-STYLE A unique dining establishment run by mother and son by

Alex Harrison Marco Pardini

photo by

ilda Bistrot (piazza Ghiberti 40/r) was founded in 2000, but you’d never know it—the Art Nouveau decor is mainly from an early 20th-century general store, and no two glasses or pieces of tableware are the same. Entering the restaurant feels as if you’ve slipped back in time and walked into someone’s home, and according to the owners, the effect is intentional.

“We wanted to make a small place where we could have direct contact with people,” says William, who runs the bistro with his mother, the eponymous Gilda. “When we renovated and decided to open the restaurant, it was totally empty. All of these original furnishings we found during a trip around Italy.”

Gilda and William (named for Shakespeare) greet and serve customers themselves, which contributes to the homey ambiance. Though happy to welcome new faces, regular patrons hold a special significance for the restaurateurs, and watching them jump from conversation to conversation is quite a marvel.

“Our clients have, over the years, formed friendships between them,” says William, smiling. “This little place has become…an extended family.”

This has been created is by serving three meals a day, and remaining open practically continually to be a constant presence for the local community. Gilda Bistrot opens at 8 am for a breakfast made up of coffee and a buffet of pastries, before transitioning into lunch from 12 – 4 pm. After a two-hour break, Gilda reopens at 6 pm for aperitivi, and the following dinner service can last as late as midnight. “We like our work, and we like all of our customers,” says the owner, punctuating her words with a proud nod.

“Our drive to maximize each individual’s experience is surpassed only by our commitment to using only the best ingredients when crafting Tuscan cuisine in the sense of truly market fresh,” William says before gesturing in the direction of the Sant’Ambrogio market outside. “We get all of our produce from there except for meat and fish.”

Only about 60% of the menu remains consistent over time, with 40% decided each day depending on looked best at the market. Gilda stresses the importance of this, echoing her son’s words. “It really reflects our food culture here in Florence. It’s the right thing to keep our dishes typically Tuscan, even if we revise a little here and there.”

When asked about traditional dishes to highlight, peposo— tender veal marinated in red wine and peppercorns overnight, then stewed in the same mixture for 5-6 hours—came immediately to mind. Because of frequent deliveries of beef from Fassona breeders in Piedmont, steak, both tagliata (sliced and served over arugla) and tartare, is always a good option. Mostly, though, offerings tend to vary. “In the fall, we create recipes with porcini mushrooms.” William adds ribollita, a bean-and-kale soup to the list, but only as a winter option, insisting that “Tuscan kale is only good during cold weather.” Sweets include creamy Florentine zuccotto or a cheese and pear dessert.

At Gilda Bistrot, high-quality, traditional food and a uniquely homey atmosphere go hand-in-hand, something the owners strongly believe impacts the overall experience. It all comes back to one of the establishment’s central mantras: Eating is Poetry. “It’s true!” affirms Gilda with another of her nods. “Food makes you feel good, [like] poetry. It connects you with your true self.”

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views & interviews

A U.S. CONSUL GENERAL RETROSPECTIVE A look at 30 years of leadership at Florence’s American Consulate by

Alex Harrison photos by Sarah Kearns & Stefano Amantini

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n May of 1819, when Tuscany was still ruled by a Grand Duke, the United States Consulate General in Florence was established.

After a tumultuous 200 years that saw the unification of Italy, two World Wars, and a Fascist dictatorship, the diplomatic office remains an influential force in city life. To celebrate this bicentennial, Vista, Florence & Tuscany is looking back at its own 30-year history of covering the Consulate to honor the institution’s steady presence in a changing city, as well as the individual diplomats that have kept it running smoothly over the years.

Abigail Rupp

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A COMMITMENT TO PUBLIC ENGAGEMENT The first thing that stands out when reading through past coverage of the American Consulate is a shared conviction that cultural exchange takes place on the ground—big initiatives and policy decisions are all well and good, but without a strong relationship with the local community, the rhetoric falls on deaf ears.

Current U.S. Consul General Benjamin V. Wohlauer (2017-present) emphasized that the role of his office is not to “try to build things from scratch or change things dramatically, but [take] advantage of the linkages that already exist,” a philosophy

made possible by the strong foundation built by his predecessors.

Diane Dillard (1985-9), who held office when Vista’s antecedent, Florenscape, was still in print, believed strongly in the value of face-to-face meetings as a way of developing American interests and programs. As a result, she spent one day each week on the road, meeting people from the Consulate’s jurisdiction: Tuscany, most of Emilia-Romagna, and San Marino. She supported numerous cultural exchange programs this way, though she had a particular affinity for promoting Sister Cities, especially Florence’s relationship with Philadelphia established in 1964.

Nora B. Dempsey (2005-8) came to Florence after being with the State Department since 1987, often with a focus on Middle Eastern affairs, so a rotation in the city of the Renaissance served as

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a reward of sorts—but not for the reason you might expect. “Florence is a place that gives a diplomat the possibility to do something that few of us get the chance to do: grassroots diplomacy,” said Dempsey in 2005. “We actually get to go out and talk with people who aren’t working in the capital.” Dempsey wanted to continue the work of predecessors like Dillard, though she managed to make her commitment to cultural exchange even more personal—Vista’s first coverage of her was after she herself sang at a concert held in the Consulate building.

The effectiveness of this “grassroots” approach is visible in the comments of later Consul Generals like Wohlauer, but there is no better evidence than what happened when the State Department ordered the Consulate’s closure in 1995 when it was under the leadership of Sue Patterson (1993-6). According to Vista, after hearing about the edict, a group of American residents sent 300 letters to various organizations asking them to write their congressmen in protest.

Though Florence was just one of 22 locations involved in the order, it accounted for 90% of the mail Washington received on the issue, which is part of the reason why the offices are open and the services available today because. The staff’s desire to forge personal connections made the U.S. Consulate an invaluable part of the local community, and when threatened, that community rose to defend it.

AMERICAN STUDENTS ABROAD: CHALLENGE AND OPPORTUNITY The Consulate has considered academics a crucial tool in their mission to deepen diplomatic ties for the entirety of Vista’s existence, but the university landscape has seen significant changes over the past 30 years. Italy is the second most popular destination for American studying abroad, and while 2,000 were registered under Dillard in 1988, that number was already at 9,000 annually under William W. McIlhenny (2002-5), and can reach up to 15,000 today. Responding to the needs of this growing community has been a defining issue for the Consulate in the 21st century, and it has not been entirely smooth sailing.

Exploring cultural differences is a big part of studying abroad, but when it comes to alcohol, the ever-growing presence of American students has sig-

Second from the left: Consul General Sarah Morrison

nificantly impacted night life in the city.

Emboldened by Italy’s lower drinking age and the increased freedom that comes with studying abroad, binge-drinking became a nightly activity for students throughout the city, and the clubs and bars rose to meet them, sensing economic opportunity. Promotions such as “girls drink for free” (written in English to target foreigners) became commonplace. The result went beyond a transformation of Florence’s quiet streets and piazzas into party sites, becoming a significant safety risk that led to incidents ranging from destruction of property to physical violence.

McIlhenny responded by prioritizing the issue, and his office worked with university officials, local law enforcement, and the Association of American College and University Programs in Italy (AACUPI) to form the Alcohol Work Group (AWG). The issue remained important for his successor, Dempsey, whose Consul Michael Ma stated, that “almost all of the problems regarding students in Florence is [sic] directly linked to the over-consumption of alcohol.”

Americans studying abroad, however, do more than present a challenge for Consuls General to solve, and their tone when discussing them is always optimistic. For example, Abigail M. Rupp (2014-7) was a major proponent of studying abroad during her time in Florence, frequently visiting local programs to impart wisdom from her own international career. “It’s a

fantastic means to learn not only about another country, but also about yourself,” Rupp said in 2014. She reminded students to be conscious of how Italians perceive them, and recommended that they engage in community volunteering, something that Wohlauer has continued to advocate since taking over from Rupp.

He believes that students have more power to actively shape the image Florentines have of Americans than any official diplomatic channels, and that it’s the Consulate’s imperative to shine a light on the good volunteer work they already do.

SPECIAL EVENTS William W. McIlhenny was the first to hold a Consulate-sponsored exhibition of works by American artists living in Florence, an occasion which also honored Vista magazine with the collaboration of future premier Matteo Renzi in Palazzo Medici Riccardi. Louis McCall (1996-8) organized a free Fourth of July celebration on the grounds of Forte Belvedere, with the AILO women group members preparing and serving traditional specialties, and no-cost accessibility to Belvedere’s sculpture show.

STRONG WOMEN IN LEADERSHIP When surveying the past three decades of the U.S. Consulate, it’s impossible not to notice the number of women that have occupied the office’s top post— of the 12 Consuls General since Dillard,

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Michael Ma & Nora Dempsey

the first woman to hold that position, only four have been men. While their presence in leadership alone can be a powerful source of inspiration for the community, some of the Consuls General also have a history of working to improve women’s conditions worldwide.

Consul Virginia Morris (1989-90), an interim between Diane Dillard and Marisa Lino (1990-3), invited American women to meet at the U.S. Consulate at the start the First Gulf War, which would ultimately lead to the establishment of Network expat group, which is still going strong.

Sarah C. Morrison (2011-4) arrived in Florence with a large amount of diplomatic street cred. After first working in Liberia to lower the infant mortality rate as part of the Peace Corps, Morrison joined the State Department and would return to Liberia before accepting an assignment in Kabul, Afghanistan. Despite heavy security often confining her to a seven-acre compound, Morrison worked chiefly to improve conditions for women and girls that were still reeling from the violently restrictive Taliban regime. By 2014, the U.S. government had set up 18 libraries and English language classes across the country, and 40,000 women were enrolled in universities. Between 2001 and 2014, partially thanks to her efforts, life expectancy for women increased from 44 to 64 years. She continued her work while in Florence by

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giving talks to raise awareness of situations like Afghanistan at multiple expatriate women’s organizations.

Rupp, Morrison’s successor, also had substantial experience making a difference in the lives of women worldwide.

Joining the Foreign Service out of college, Rupp worked with an anti-trafficking program in Russia as well as various

Benjamin Wohlauer

health programs in Ethiopia and Ghana, where she promoted microcredit loans for women. “Offering assistance to women improves the entire country’s condition,” Rupp said in 2015.” In Florence, the U.S. Consul General was a role model for women striving to find a work/life balance, herself a wife and mother of three.

She believed trying to “have it all” only sets women up for failure and recommended they focus on their strengths to spin the discussion positively, as well as extolling the value of helping others.

2019 has seen several events organized by the Consulate to commemorate their bicentennial, lovingly dubbed Insieme 200, “Together 200,” in honor of the milestone it represents in Italian-American relations. The festivities have ranged from special exhibitions to the unveiling of the new “New England 1776” gelato (maple-bacon flavored) during a spring competition. Coming up this fall, is an October celebration of Villa I Tatti, Harvard’s Center for Italian Renaissance Studies and the headquarters of the Committee to Rescue Italian Art (CRIA), which played a crucial role in restoring artworks damaged in Florence’s devastating 1966 flood. When this landmark year comes to an end, though, Vista looks forward to another 30 years covering the men and women who serve Florence as U.S. Consul General.

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