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Archive for the ‘Collodi and VIlla Garzoni’ Category

Bargello View from Uffizi Firenze

Museo Nazionale del Bargello Florence – View from Uffizi Gallery

On an early spring day in 1475, a young girl sat on a stool in the workshop of the Italian master, Andrea del Verrocchio.  A fresh bouquet of wildflowers had been given to her just before she sat in the master’s studio.

Born Andrea di Michele di Francesco de’ Cioni, Verrocchio was well known in the halls of Medici power in Florence during the early Renaissance. His study of this particular young girl rests on a stand in what is now called the Sale Verrocchio  – a small second floor gallery in the Bargello Museum in Florence.

The question that, even today, occupies the minds of many art critics and historians about Verrochio’s bust of that Tuscan girl is “Who created the bust of Dama col Mazzolino?”

Museo del Bargello, in the heart of Florence’s Medieval city center, seems an austere and perplexing location for yet another extraordinary collection of art. This was the seat of the Podesta, the Chief magistrate of the city for centuries and the place of execution for nearly an equal number of years.  Bargello’s imposing crenelated tower, which competes in scale with its nearby neighbor the Badia Fiorentina (Abbey of Florence),  pierces the skyline of the city.

To climb the long exterior staircase of the courtyard is to literally rise above Michelangelo (a collection of Buonarotti’s works occupies the ground floor gallery) and arrive in the the midst of invaluable art patronage: Donatello’s David, the gallery of the Della Robbia workshops, and much more.

DSC_4210

Main Stairway Bargello Florence

Many visitors to the Bargello are, by the time they arrive at the Sale Verrocchio (The Verrocchio Room), too tired to pay much attention to the beauty of the works contained therein. The late afternoon sun shimmers through the wave-aged windows as noise rises from the streets below and on top of fatigue, the heat often erodes interest. My advice? Take a break and study, in particular, this singular cinnamon-hued marble masterpiece.

Dama col Mazzolino

Dama col Mazzolino

Now, the mystery.

One of Verrocchio’s students was a young man from the village of Vinci, one Leonardo. Verrocchio also worked with Perugino, Botticelli and Ghirlandaio – an incredible collection of the best artists of the day.

As art historians have studied the young woman, a number of experts began to doubt that only Verrocchio, and perhaps not Verrocchio at all, carved the bust. On several of Leonardo’s works there is a nearly identical style to the hands he painted.

Here are some examples, next to the Damma Col Mazzolino.

Verrochio Hands

Damma Col Mazzolino
Hand Study
Verrocchio 1475

Lady With An Ermine Da Vincie 1489-1490

Hands-Lady with an Ermine-DaVinci 1490

Note the striking similarity in the position of the hands. The elongated stretch of the fingers are nearly identical. One additional remarkable note about the resemblance of Da Vinci and Verrocchio’s work are from Da Vinci’s most famous fresco, Il Cenacolo, the Last Supper in the refectory of Santa Maria della Grazie Convent in Milan.

During a recent visit to that Convent, I noticed the hands of St. Phillip, who stands three disciples to the left of Christ in Da Vinci’s fresco.

Última_Cena_-_Da_Vinci_5

Hands of Phillipus
Il Cenocolo, Da Vinci

Note, again, the nearly identical position of the saint’s right hand in this fresco to the hands in the works detailed above. Was it simply coincidence that these similarities exist? Many art historians and critics believe that if Leonard did not actually carve the hands (at a minimum) on the young girl holding flowers, Verrocchio’s influence on Da Vinci’s style was both remarkable and deep.

Such, perhaps, is the ‘science’ of art. While technologically advanced equipment can assess the age and condition of works of men and women, the true gift of the artist is in the mystery of their vision. Whether you agree with the discourse on these works of art, I believe those who take the time to study them will come to more deeply understand the effect of the Florentine masters, and their studios, on their students.

My vision, when I study the young Tuscan girl in that small gallery in Florence, is of a young Leonardo, fired by talent and desire, absorbing and learning from every mark of his master’s chisel, every stroke of paint on canvas. Da Vinci’s contemporaries, like Perugino and Ghirlandaio, were at hand to watch, sketch and stare in wonder at the creative energy so perfectly expressed by their teacher. Each of Verrocchio’s pupils learned to create their own work, while paying homage to the genius of the man who taught them.

I will conclude this post with two images. One by Verrocchio, discussed in this blog, and the other by one of Verrocchio’s students.

Yet another opportunity to compare and consider the comparative work of masters: Verrocchio and . . ?

AII58286Girl - by Verrocchio Studen

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Rooftops of Lucca

Let’s see . . . it was in 2004 that I was walking in front of Sant’Alessandro Maggiore in central Lucca with Alessandro Tombelli, a friend from Florence. He saw one of his acquaintances, Wanda Martinelli, standing with a group of tourists. She was able to wave and speak briefly before moving on with her group.

For the past eight years, our small group tours with Private Italy Tours have visited Lucca and Wanda has always been our constant companion during those visits. A Lucchese by birth, she is passionate about her city and shares an incredible level of knowledge during the day that we spend with her. She has become a dear friend.

It has been in the course of those years, visiting Lucca with and without clients, that I have come to deeply love and respect the history of this incredible walled city. There are so many places to visit and sights to see. This post shares some history as well as impressions of my favorite places within a beautiful, and rightly famous, Tuscan city.

From Roman occupation to Silk-A Brief Overview

It is relatively easy to imagine the most important moments in Lucca’s long history by walking inside the city walls. In 177 B.C. a Roman colony was established along the banks of the Auserculus (Orzieri) river. As with all Roman colonies, there were four gates that permitted access to the city along the two main roads.

It was during the 2nd Century A.D. that a large amphitheater was built just outside the northeast gate of the city. By the end of the 2nd Century, there were over 10,000 inhabitants in the area. The main commerce routes of the city were connected to the Via Cassia (linking Rome and Florence) as well as other roads that lead to the sea (west) or to Bologna (north).

Lucca Street View

It was when the silk trade was established with the Far East that Lucca became enormously wealthy. Numerous families used their fortunes to create incredible country estates in the hills outside the city. (see A Day Near Lucca for further details and information about the villas and gardens.)

From the time of the Romans, through the Dark Ages and into the Renaissance, Lucca has retained the words that represent the spirit of the city: Libertas (Liberty).  The city has never been militarily nor politically subdued until the unification of Italy in the latter part of the 19th Century.

Inside the walls – The Conservative Lucchesi

Ostentatious displays of wealth, with the exception of Lucca’s churches, were forbidden at the time that the growth of the silk trade made the city extremely wealthy.  When you visit the city you will notice that the exterior of the largest family palaces is, architecturally, conservative while still showing, by size alone, the importance of the owners.

The list of these incredible city villas reflects the names of the wealthiest families: Mansi, Pfanner, Micheletti, Bernardini, Diodati-Orsetti to name but a few. The Palazzo Ducale, now the seat of the Lucca Provincial government, was once the private home of Elisa Baiocchi. Who was Elisa? She was Napoleon’s younger sister. In 1805, and already titled the Princess of Piombino, she was given the Republic of Lucca to govern.

Enormously unpopular among the residents of the city, she tore down blocks of buildings in what is now the Piazza Napoleone so that she could enjoy ‘views’ from her palace.

As you stroll the streets of the city, the sheer number of these huge villas cannot fail to impress upon you the incredible power, and financial resources, of Lucca.

Churches, Churches, Churches

Lucca was once referred to as the “City of One Hundred Churches”. Today, the number has dwindled, yet the style, grace and beauty still impress.

Sunset, San Michele in Foro, Lucca

San Michele in Foro

One of the most beautiful churches in the city is San Michele in Foro, built on the ruins of the ancient Roman Forum that once stood at the intersection of the two main streets of the colony. A façade of four levels, with forty-eight individually designed and carved columns surmount the main entrance of the church. High atop the façade, two angles flank a nearly fourteen foot high statue of Saint Michael.

San Frediano

Opening to a relatively large piazza, the façade of San Frediano never fails to impress visitors with its glass, gold and precious stone inlaid mosaic.  The Basilica was built during the 6thCentury and the current appearance of the

Facade Mosaic
Basilica of San Frediano, Lucca

church, very Romanesque in style, was completed in the 12th Century.  Named  for an Irish Bishop of Lucca (Fridianus), the interior of the church is striking in its austere simplicity.

Duomo (Cathedral) of San Martino

This is one of the most visually stunning churches in all of Italy. When the Bishop of Lucca, Anselm, began construction of the building in 1063, little could he have known (even after becoming Pope Alexander II) that the church would appear as it does today.

There are, much like San Michele in Foro, three levels of colonnaded façade. Thrity-seven individually unique columns support the levels above the portico entrance of the cathedral. A copy of San Martino, Saint Martin, adorns the façade. The original sculpture was moved inside the cathedral several years ago.

Volto Santo di Lucca. Within the vast interior of the cathedral is a gold clad “temple”. The contents of this temple were what brought thousands of religious pilgrims as they made their way along the Via Francigena, the main pilgrim route between Canterbury and Rome.

Duomo of San Martino, Lucca

Nicodemus, who helped bring Christ’s body from the cross and tomb, wanted to carve a likeness of Christ while it was still fresh in his mind. He began working on a large piece of Lebanon Cedar, but fell asleep when he prepared to carve the face. As he slept, an angel came and completed the carving for him.  The wooden carving made its way by boat from the Middle East, eventually arriving on the shore of the Mediterranean near Pisa. From thence, it was brought initially to the Church of San Frediano, and then to its current location in the Duomo.

In the 15th Century, Matteo Civitali designed and had built the chapel in which the Volto Santo today rests. Civitali, a well-known Renaissance architect built the structure from Carrara marble and specially forged, gold covered, iron.

On September 13th each year, the entire walled city is lit only by candles as a procession honors the Volto Santo. The sculpture, heavily adorned with priceless jewels, was carried through the city. To protect the aging wood, the sculpture now remains in the chapel. The jeweled decoration remains throughout the period of the festival.

This is truly an astounding piece of art and further underscores the religious importance of Lucca.

There are many more churches to visit in Lucca. For a complete list, see

Churches of Lucca

The Walls of Lucca

Walls of Lucca

There have been three main walls constructed to protect the city of Lucca. The first, during the Roman era, the second in the early Middle Ages and the final – the ones we see today – were completed in 1644. Though designed to protect the city from armies, the structures were never bombarded or scaled.

Today, the wide promenade atop the walls affords visitors and locals alike to stroll in the shade of countless Chestnut trees while taking in views of both the private gardens of villas and palazzi inside the walls as well as the city and hills outside the fortifications.

There are seven gates into the city: Porta dei Santi Gervasio e Protasio, Porta dei Borghi, Porta San Pietro, Porta Santa Maria, and Porta San Donato, Porta Vittorio Emanuele and Porta San Jacopo. If you arrive in Lucca by train, the Porta Santa Maria will be the gate you most likely will use to enter the city.

Piazza Amfiteatro

In the course of Rome’s demise, the amphitheater that once accommodated 10,000 spectators fell into disrepair. The marble façade was taken

Piazza Amfiteatro, Lucca

down, its slabs of marble used for the construction of churches and other buildings in the city. Homes were built around the now empty oval space. What remains today is truly the most unique ‘square’ (piazza) in Italy, the Piazza Amfiteatro.

The area, once notorious for prostitutes and crime, was cleaned up and became the location of the Lucca farmer’s markets. That activity was moved out the city after World War II and the piazza now offers lovely cafes and shops.  It is a wonderful place to just sit, enjoy a pizza and glass of wine for lunch and people watch.

Torre Guinigi View, Lucca

Torre Guinigi (Guinigi Tower)

As the wealth and prestige of the Guinigi family grew, they built a number of city villas along the Via Sant’Andrea and the Via Guinigi. During the latter part of the 13th Century, they built a high tower to represent their status in the town. Typical to that era in Italy, towers were being built for churches and by private families as symbols of economic and political power.

Holm Oaks, symbols of rebirth, were planted at the very top of the tower and remain to this day. The climb is well worth the effort and the view is unforgettable.

The town of Lucca now owns the tower and you can visit. See “If You Go” for details about open times and entrance fees.

At Long Last, Puccini!

Puccini, Statue with Family Home
(Left Background)

A visit to Lucca would be incomplete without paying homage to the city’s most famous ‘son’, Giacomo Puccini. He was born in 1858 into a famous musical family. His famly home, in the center of Lucca, has  recently reopened after a lengthy and complicated restoration.While Domenico Puccini, his grandfather, was the most famous of the family’s musicians, it was Giacomo enormous talent (and ego!) that Italian’s love.

Creator of such favoirte operas as La Boheme, Madama Butterfly, La Fanciulla del West and Turandot, Puccini’s fame brought him great wealth during his lifetime. In 1891, to find some quiet away from the city and his demanding schedule, he built a lovely home at Torre del Lago, about fifteen miles from Lucca and closer to the sea. From 1900 – 1921 he lived there with his family. He died in 1924 and is buried in a chapel at Torre del Lago.

Even if you are not interested in Opera, a visit to Pucini’s home – and the bronze statue of him that sits in front of his home – is a rewarding and informative experience.  See “If You Go” below for further details about the Puccini home in Lucca and visits to Torre del Lago.

A Stroll Through Lucca

There are many afternoons when, while the shops of the city center are closed for a long lunch, I have walked the shadowed lanes of the city. While church facades and famous family towers loom overhead, the ancient cobbled streets harken to a peaceful past, of successful merchants and of political stability.

Whether in the spring of each year, when Camellia blossoms burst from gardens in the area or in the fall when a golden shower of leaves accompany an evening stroll around the top of the tree-lined city walls, the ‘feel’ of Lucca is one of ease. Unlike Florence, Rome and the numerous other large cities of Italy, Lucca affords visitors both peace and time; gifts indeed from a city built on the premise of liberty and wealth.

IF YOU GO:

Lucca is easily reached directly off of the A12 Autostrada between Florence and Pisa. If you are visiting Florence, and do not have use of a car, trains run nearly every hour from both Pisa’s and Florence’s train stations. Round trip fare in second class averages Euro 10.40 per person.

Information and schedules can be found at: www.trenitalia.it

From the train station, exit the main doors, and turn LEFT when you arrive at the main circuit road that surrounds the city walls. You can cross the street at a traffic light at the Porta San Pietro (Gate of Saint Peter), the first large city gate you will see within the city wall.

Once inside the city gate, veer to your left along the street and turn right at the second street – the Via Vittorio Veneto.  This street will bring you into the Piazza Napoleone and the Palazzo Ducale. From there, you can easily navigate the city.

Guided Tours of Lucca and surrounding country villas and estates

Wanda Martinelli is the best guide in the region. She can be reached directly through her web site,

Lucca Tours

Whether you seek an escorted walking tour of Lucca, or a full day or more exploring the city and countryside, Wanda and her team offer the finest services available. I cannot recommend them highly enough!

Church Entry times:

San Michele in Foro

Summer (May – end of October):  9:00-12:00/15:00-18:00
Winter (November – end of April):  9:00-12:00/15:00-17:00

Tel: +39 0583 419689

Basilica of San Frediano

Summer (May – end of October):  9:00-12:00/15:00-17:00
Winter (November – end of April):  9:00-12.00/15:00:18:00

Tel: +39 0583493627

Duomo of San Martino

Summer (May – end of October):  8:30-18:00
Winter (November – end of April):  9:00-12:00/15:00-17:00

Tel: +39.0583.494.726

Torre Guinigi

Web Site: Torre Guinigi

Entrance tickets: Euro 3.50 per person

Opening hours:
March: 9:00-19:00
April-May: 9:00-21:00
June-September: 9:00-24:00
16 September-31 October: 9:00-21:00
November-February: 9:30-18:00

Tel: +39.0583.316.846

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My introduction to the Villa Garzoni and its gardens was during my childhood.  Our family lived in Tirrenia, a seaside village about midway between Pisa and the port city of Livorno. Those early impressions have been solidified over many years of subsequent visits to the village and the park named for its most famous son, author Carlo Lorenzini. There will be more on his impact on this tiny town later in this post.

Where, exactly, is Collodi?

Villa Garzoni and Collodi

Between Florence and Lucca, along the foothills of the Apennine mountains, is the city of Pescia. A bit north and west of that city, strung along a small ridge, is the village. The village’s main walkway is far too steep for cars or even the infamous “Vapi”, that noisy impossibly small three wheeled transport used by so many Italians. To walk along the cobbled steps and street through town is to encounter an increasingly rare Tuscany. It is a place, above the roads that approach the old city gate, that harkens to black and white photos, to grieving widows dressed in black, to less complicated eras.

In 1652, the Garzoni family began construction on a country villa. The site for this home was along a steep hillside near a 10th Century fortress. From the villa’s location, the family enjoyed a view over the valley below. The gardens were designed to complement the villa, while taking into consideration the very steep land upon which it would be built. The results of the design , completed in 1752, were gorgeous. In 1786, members of the family selected a local landscape architect, Ottavio Diodati, to design a water cascade that would run from the highest point of the garden to a grotto constructed at the point where the steep hills met the parterre.

When you enter the garden, the first impression is one of grandeur and beauty. Now known as one of only a few high Baroque gardens in Italy,

Garden View, Villa Garzoni

the centuries have proven the worth of both the Grazoni family’s and Diodati’s efforts.

Three flights of balustrade stairs lead to a Grotto. At each terrace, as visitors ascend the garden, there are long flat planting areas, almost like ribs, that splay out and away from the central axis of the garden. Yews, Eucalypti, palms and other local plants and trees provide welcome shade from the piercing Tuscan light.

At the top of the garden, and it is a steep climb, visitors arrive at a statue of Fame, Jove’s messenger. From the large sea shell that Fame holds to her mouth is a long arch of water that ends in a small pond at her feet. On the descent from this high point, visitors can walk to the Villa for a tour, descend through the lush Bamboo forest and return to the entrance gate of the property.

Pinocchio Park

Less than a five minute walk from the entrance to the Villa Garzoni and gardens is the entrance to the Pinocchio Park.

Parco Pinnochio
Statue by Emilio Greco, 1956

The park was named after a character created by author Carlo Collodi. Born Carlo Lorenzini in Florence (1826), he became a well-known political author. In the course of his journalistic career, he began to write political allegory. After many years of work, he took his mother’s home town as his pen name (Collodi) and wrote Pinocchio. The now famous marionette was used by Lorenzini as an allegorical figure who represented the liberating metamorphosis from strict forms of his creation, wood, to the freedom of being a truly human boy.

Lorenzini died in Florence in 1890, a mere seven years after Pinocchio was published. He did not live long enough to enjoy the spectacular success that his book created. Now translated in over 100 languages, it is one of the world’s best-selling books of all time.

You can read the entire book, on line, or download an e-book copy at this site. Special thanks to the Guttenberg project and the phenomenal work they do.

Adventures of Pinnochio by Carlo Collodi

The “Parco Pinocchio” was opened in 1956, the result of country-wide artistic collaboration. Artists from across Italy participated in the creation of sculptures and mosaics that appeal to child and adult alike. Scenes from Carlo’s fable are represented within the small confines of the park. A visit gives you the unique opportunity to enjoy yet another treasured corner of Tuscany.

It has been decades since my first visit to this tiny, magical, place. Every time I am in Tuscany, I return. Take time to enjoy this extraordinary and little-known village perched on a hill between Florence and Lucca.

IF YOU GO:

If you do not have the use of a car, you can take an inexpensive regional train from Florence’s Santa Maria Novella station and, for Euro 10.40 per person, arrive in Pescia.Trains between Florence and Pisa leave nearly every hour between 6:00AM and 10:ooPM. The trip to Pescia takes about one hour.

Schedules and more information about train schedules can be found at: www.trenitalia.it

From the Pescia train station you can take either a local bus (VaiBus) or taxi. Their complete schedules for the Pistoia region, which includes both Pescia and Collodi, can be found at: VaiBus

Taxi fare between the Pescia station and the town of Collodi averages Euro 30 per taxi (not per person!)

Entrance tickets:

You have a choice of purchasing three different tickets, depending on your interests:

Pinocchio Park, Euro 11.00

Garzoni Gardens and Butterfly House, Euro 13.00

Pinocchio Park, Garzoni Gardens and Butterfly House, Euro 20.00

Official Web site of the Villa and Gardens

Villa Garzoni and Gardens

Official Web site of the Parco Pinocchio (Pinocchio Park)

Parco Pinocchio

Information for the Park.

Tel: Parco di Pinocchio TeL: +39.0572.429.342

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