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Archive for the ‘Tuscany’ Category

News that the Museo del Opera del Duomo (Museum of the Works of the Duomo) in Florence is closed for over a year for an expansive restoration has been met with mixed reviews. The new museum will nearly triple the old museum’s size and will include a full scale replica of the facade of Florence’s first Duomo, Santa Reparata. The North/South and East doors of the Baptistery – the original panels, that is – will also be placed on display in the new spaces of the museum for all to enjoy. Concurrently, the Baptistery exterior is undergoing extensive renovation, to include the replacement of all of the original door panels with copies.

It is  a bit sad, and disappointing to the thousands how will visit Florence over the next year,  to think that the Nicodemus Pieta, Donatello’s Magdalene and the Della Robbia – Donatello Choir lofts, along with numerous other treasures of Renaissance art,  will not be seen again until the fall of 2015 when the museum is scheduled to reopen. Architect Rendering Museum of the Works of the Duomo

There are, however,  numerous options for visitors to experience the art of the Renaissance in Florence; the Uffizi, the Bargello Museum, the Museo di Firenze com’era, and – until 20 July 2014 – an extraordinary exploration of the art of Rosso Fiorentino and Pontormo at the Palzzzo Strozzi. (More on that in another post).

So…if you wish to visit the treasures residing in the Museum of the Works of the Duomo, enjoy Florence this summer and come back in the fall of 2015 to celebrate what promises to be an incredible reopening.

Architectural Section
Museum of the Works of the Duomo – 2015

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View of the FaraglioniBelvedere, Capri

View of the Faraglioni
Belvedere, Capri

Ah, Capri. Azure blue seas, spectacular vistas and narrow lanes. Bougainvillaea, roses and the scent of lemon blossoms afloat sea borne breezes.

This island, located an easy ferry trip from Naples, Sorrento or many of the villages along the Amalfi Coast, is a must for those who wish to experience the new and the old of southern Italy in a day’s excursion. From the playground of wealth that is Anacapri to the ancient Villa Jovis on the dizzying promontory overlooking the bays of Naples and Salerno, there are easy ways to navigate away from the hoards of tourists who daily flock to the isle to experience, if even for a day, ‘la dolce vita’.

Regardless of where you begin your ferry trip, by commercial ferry or hydrofoil, you always arrive on Capri at the Marina Grande. This is a cacophonous, crazily busy and crowded place to begin your visit to the island, but it your only option.

After you disembark at the marina, you want to find your way to the ferry ticketing building which sits (as you face away from the island and across the docks) on your left. There is a large departure board which posts the departures for various locations across the Bay of Naples and the Bay of Salerno. It is good to review how the system works so that, upon your return, you can locate the correct dock and ferry to your ‘home port’.

You will note no reference in this article about the Blue Grotto. Why? Given that you must change boats at least twice, mid-water, that the grotto is incredibly crowded and everyone associated with entering the grotto expects to be tipped, I would avoid visiting this place. Often, the water is too rough to allow the small boats you must be in (and must lay down in to get into the grotto) can’t enter. Usually travelers don’t find out that they can’t enter until they are already on an excursion boat and are at the entrance site of the grotto. So…some advice.

On to several options for a one-day visit on Capri. If you get an early enough start, you can easily handle all of these options.

Villa Jovis Church of Santa Maria del Soccorso Capri

Villa Jovis
Church of Santa Maria
del Soccorso
Capri

VILLA JOVIS

For those who wish to visit the ruins of the Villa Jovis, where Tiberius chose to rule the Roman Empire for most of his reign, you can choose a taxi to carry you up to the high promontory (the drop to the sea is breathtaking) to the Villa for a visit. You can also walk from the village of Capri, though given the narrow (VERY narrow) roads, this options comes with a higher risk of injury!

Tiberius had the structure built on a dizzying plateau facing the mainland – and what a view it is.

The villa was completed in 27 A.D. and Tiberius rarely left. Stories abound about those who disagreed with the Emperor found their landing after being pushed off the precipice a bit final. Regardless, it is a spectacular ruin and, while you are in the area, you should visit the Church of Santa Maria del Soccorso. I have always smiled when I think what Tiberius would have said about, first, a church on the grounds of his villa and, second, what he would think of a building dedicated to the holy mother and to her intercession and relief.

Boggles the mind!

ANACAPRI

My best recommendation, upon arrival at the Marina  Grande, is to escape the crowds and take a Capri taxi, famous for having only a fringed canvas cover over the driver and passenger compartment (they are lined up at the marina and at other locations across the island), and head directly to Anacapri.

If there is a soul to the island of Capri, I believe it resides in Annacapri, Upper Capri. The word “ana” derives from the ancient Greek word for
‘above’. You will discover a lovely central shopping area (where you can easily locate restroom facilities), access to the chairlift to Monte Solario and many good restaurants for lunch or dinner. This is a much less crowded place than the town of Capri above the harbor.

Seggiovia (Chair Lift) Monte Solario

For those who wish to ride the spectacular chair lift up to the summit of Monte Solario, the highest point on Capri, the chair lift ticket office and

View from Monte Solario Capri

View from Monte Solario
Capri

boarding area are just off of the main piazza in Anacapri. The approximately ten minute ride provides breathtaking views and an opportunity to experience something you may find difficult to discover on Capri: silence.

There is a small cafe and sun terrace at the summit where you can take photos of the Faraglioni, the lava rock formations that have helped define Capri. The cafe offers sandwiches, coffee, a few alcoholic drinks. Most visitors simply sit in the sun, or stroll with their cameras in hand to record their day on the island.

If you descend to the village of Anacapri, you will find a good restaurant, La Rondinella, located to the left of the piazza along the Via G. Orlandi. The shady terrace, as well as the lovely main dining room, offer fair prices and a relaxing place to take a breather during your visit to Capri. (See IF YOU GO, below, for details)

When you have completed your visit the Anacapri, I again recommend taking a taxi down to the village center of Capri town. It is a small and very intimate space, hence the often incredible crowding.

Belvedere and the View

From Capri’s piazzetta (small piazza), you should walk up the stairs directly to the left of the steps to the Cathedral of Santo Stefano. Follow the well marked walkway to the “Belvedere.” Keep walking up through the protected cover of shady lanes, along winding paths that front gorgeous villas. Your exertions will be well rewarded. You arrive at one of the most gorgeous overlooks on the island, directly above the Marina Piccolo on the north side of the island. This is a photographer’s dream and a dreamers never forgotten view.

Villa San Michele

The Swedich physician,Axel Munthe, made his home in the gorgeous villa on Capri. In 1929, his “The Story of San Michele” was published and has a strong following for those fascinated by the social history of the island. Perched over 1000 feet above the sea, the pergola and gardens are now revered among Italaophiles, who have given them the name “Grandi Giradini Italiani”, the Grand Italian Gardens.

After your visit to Anacapri, you can easily make a visit to this spectacular villa part of your day. (See IF YOU GO, below, for details.)

Giardini di Augusto

From the small piazzetta in the center of Capri, you can descend in about fifteen minutes to the spectacular Parco Augusto / Giardini di Augusto. The views of the Faraglioni from the high ground above the sea are unforgettable. You can walk back to the piazzetta in Capri in about thirty minutes…for those whose health does not permit much strenuous exercise, take a taxi!

When you tire of Capri and your explorations, you can either take the island bus (often very crowded), the incline railway (funicular) at the piazzetta in Capri or you can take a taxi back to Marina Grande for your return ferry trip to the mainland. (See IF YOU GO, below, for more details.)

IF YOU GO:

Capri Tourist Information site, in English

Welcome to Capri

Ferry Schedules

Ferry information from all major ports to Capri

Taxi Cost, Marina Grande to main piazza  in Anacapri, Euro 14 per taxi.

Taxi Rates – Anacapri Taxi

Taxi Rates – Capri Taxis

Seggiovia, Chair Lift, Monte Solario (from Anacapri)

  • From March to October, the lift is open from 09:30AM to 17:30PM
  • From 1 November to end of February, the lift is open from 10.30AM – 15.00PM
  • Price for the lift ticket, round trip: Euro 10.00

Villa San Michele

Open every day, year round.

Museum & Bookshop
Hours: January, February, November and December: 09.00AM – 15.30PM
March, April and October: 09:00AM – 17:00PM
May – end of September: 09:00AM – 18:00PM

Entrance 7,00 €

Giardini di Augusto

Entrance:  EUR 1.00

Restaurant

Via G. Orlandi, 295, Anacapri Napoli, Italy +39 081 837 1223

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Allegory with Venus and CupidAgnolo di CosimoCalled Bronzinoca. 1545

Allegory with Venus and Cupid
Agnolo di Cosimo
Called Bronzino
ca. 1545

Agnolo di Cosimo, called Bronzino, studied from the age of fourteen in the bottega of Jacopo da Pontormo. In 1545, he received a commission (most likely from Cosimo I, Grand Duke of Tuscany though some attributions list this as a commission from Francesco Salviati) for a painting to be given to King Francis I of France. The oil on wood painting is called “Allegory of Venus and Cupid” or “Venus, Cupid, Folly and Time.”

What many people do not know is that Bronzino included an homage to the master, Leonardo da Vinci, in this complicated and convoluted work.

From Venus’s intimate embrace with her son, Cupid, to the upper right  bald figure of Time who holds the hour glass in his hand, most of the foreground of the work is relatively easy to understand. Move to the background and interpretations dissolve in what is a surreal backdrop of shadow and mannerist painting.

One particular figure is the subject of this article.

To the left of Cupid, whose naked buttocks disconcertingly intrudes on the left, is the figure of someone – a woman? a man? – in the midst of agony, anger and despair. Various interpretations have this figure representing jealousy or, by some, as the figure of syphilis, representative of unwise (out of wedlock?) intercourse. Regardless, it is clearly the image of someone in great distress.

Now, more back story.

In 1505, Leonardo da Vinci was given the commission for a fresco depicting the Battle of Anghiari to be completed on a wall in the Council Chamber of the Palazzo Vecchio in Florence. His cartoon, long lost, depicted a tortuous configuration of horses and men engaged in the heat of battle.

It was to one particular figure that Leonardo gave the most fearsome features-one Niccolò Piccinino. A condottiero (military leader) of considerable fame and success, he succumbed to the forces of Ludovico Sforza at the Battle of Anghiari (1440). In the throws of that battle, as Leonardo portrayed the action, Niccolò’s fierce and focused face is grimaced in a combination of determination and madness.

battle of AnghiariCartoon copy by RubensOrig by Leonardo da Vinci1505Palazzo Vecchio, Florence

Detail, Battle of Anghiari
Cartoon copy by Rubens – 1603
Orig by Leonardo da Vinci
1505
Palazzo Vecchio, Florence

Now, back to Bronzino.

It is believed that Bronzino was given the opportunity to study Leonardo’s design, most likely from a 1553 engraving by Lorenzo Zacchia. Historians believe Zacchia created the engraving from studying the actual cartoon. Leonardo’s figures made a deep impression on the young Bronzino.

During some recent discussions with friends in Florence, it was posited that Bronzino was so affected by the face of Niccolò Piccinino that he created a mirror of the condottiero’s face, and used it (in homage to da Vinci) for a face in his Allegory.

Below is a close up detail of the Anghiari face, flipped horizontally and a close up the Bronzino’s figure.

Bronzino, Leftda Vinci, Right

Bronzino, Left
da Vinci, Right

Whether this recent interpretation will stand the test of time remains to be seen. What is true is that there is a startling similarity in the faces – one on a cartoon created by Leonardo, and the allegorical figure included in Bronzino’s work.

IF YOU GO:

The Bronzino work, Allegory of Venus and Cupid, is in the National Museum in London

Battle of Anghiari, by Leonardo da Vinci.

There has been a great deal of inquiry recently about whether some of Leonardo’s work existed behind a ‘second wall’ in the Sala dei Cinquicento (once the Council Chamber) in the Palazzo Vecchio. In March of 2012, the search for this possible fresco was terminated, though these articles are interesting. Listed below are a few links for those who are interested.

New York Times

U.K. Telegraph

Discovery News

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Torment of St. AnthonyMichelangeloca. 1488

Torment of St. Anthony
Michelangelo
ca. 1488

A young Michelangelo, barely twelve years of age, copied an engraving while in the workshops of Domenico Ghirlandaio.

I never would have guessed this to be a work by the same master who painted the Doni Tondo, or the frescoes of the Sistine Chapel.

Originally attributed to ‘a student of the workshop,’ it was only after the 2008 purchase of the work by a New York art collector, that the panel was definitively studied and attributed to Buonarotti.

What a surprising and unusual piece it is.

Martin Schongauer, one of four sons of an Augsburg goldsmith, created a varied and complex set of copper engravings. The Torment is one of the few pieces that exist as a separate print. Martin’s more famous works are series: Passion, Death and Coronation of the Virgin, and Wise and Foolish Virgins.

How did this engraving find its way to Florence? The Medici Bank had many offices across Europe. It is possible that the work was sold to collectors in Bruges or Geneva, for example and then it was traded among merchants who traveled to and from Florence on business; all conjecture at this point, to be sure.

It is certainly difficult to understand why Michelangelo selected, or perhaps was given the commission to paint, his interpretation of this engraving. The young man tightened the design of the original engraving and, it is said by art experts, he studied the anatomy of fish so that a more lifelike rendering of sea creatures could be added to the work.

Why would Ghirlandaio’s workshop, in the heart of Renaissance Florence, select such an engraving for their study? Difficult to say. Perhaps it was the unique structure of the work, the elliptical, nearly hypnotic, central core that both draws you in and seems to circulate as you study it.

Martin SchongauerTorment of St Anthony1488

Martin Schongauer
Torment of St Anthony
1488

Regardless, the young Michelangelo created a painted wooden panel that moves the tormented saint from the skies above the middle eastern desert to the blue skies of Tuscany. In the background is a river scene that could easily be interpreted as that of the Arno River as it courses through the city.

Whether his work was created in the workshops of Florence, in his studio carving masterpieces in marble, or laboring under incredibly difficult conditions on scaffolds in the Sistine Chapel in Rome, the diversity, skill and artistic eye of Michelangelo di Lodovico Buonarroti Simoni continue to fascinate.

The Torment is now in the collection of the Kimball Art Museum in Ft. Worth, Texas. As of this writing, I was unable to ascertain the engraving’s location or collection.

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Leonardoda VinciSalvator Mundi

Leonardo da Vinci
Salvator Mundi

An inscrutable smile, a curious pose and mesmerizing eyes are all reminiscent of the Mona Lisa. Over the course of centuries missing da Vinci’s have been coveted and searched for. No less true for the Salvator Mundi, Leonardo’s “Savior of the World.”

The story of the painting’s journey crosses country boundaries and centuries of time. About one hundred years after the painting was completed, an engraving was made of the work by Wenceslaus Hollar, a Bohemian engraver. Over twenty copies of the painting are known to exist.

It was in 1763, upon the sale of the contents of Buckingham House (now Palace) that the painting disappeared from view. 137 years later, in 1900, Sir Frederick Cook acquired the painting for his personal collection. Cook’s descendants sold the work at auction in 1958 for £58.00, believing it to be yet another copy-and a poor one at that.

As with nearly all works of the Renaissance, there were many copies made over the course of centuries. Such is certainly the case of the Salvator Mundi, whose copies number over twenty.

salvator-small

Salvator Mundi
Pre-Restoration

It was only upon further inspection and study by the art historian and New York art dealer, Robert Simon, and a team of other experts that the hidden secrets of the painting became known. Damaged by numerous attempts at restoration, including poor work on the wood panel upon which the work was painted, it took patience, the use of x-ray and infrared study as well as other scientific methods to discover that this is the original da Vinci.

There were many crucial points of evidence that have convinced the art world that this is truly by Leonardo. The attention to the detail of the painting, the beauty of the crystal orb that Christ holds in his left hand (a symbol of the world) and, most importantly, pentimenti, proved the marks of the master.

Pentimenti? These are preliminary positioning and design that the artist changes in the course of the work. The detail that finally gave the conservators the information they needed was, interestingly enough, was the thumb on Christ’s raised hand. Upon infrared inspection it was discovered that the thumb had originally been in a slightly different position than that on the final work. Further, the pigment’s consistency, the type of media used and the technique all prove, without doubt, that this is the original.

Art experts from Florence to Milan, New York, Washington and Paris studied the restored work and all have agreed; da Vinci’s work. What is still not clear is when or where the painting was completed. Some believe it was painted in Milan around the time of the Last Supper. Others believe that it was painted in Florence after Leonardo moved to the city in 1500.

Regardless, the fascinating and mesmerizing eyes, the finely captured blessing hand and the living and breathing figure we encounter only serve to add further mystery to the works of Leonardo.

After years of studying Italian Renaissance art, I have come to believe that it is Leonardo’s eyes that truly fascinate us. Their hypnotic similarity, their quixotic inscrutability are what draw us in. Give this some thought, a combined photo of an eye of the Salvator Mundi and an eye of the Mona Lisa. Hmmm…

The Eyes of Da Vinci

The Eyes of Da Vinci

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As part of the Art and History of Renaissance Art class, this video is used to introduce the students to the music and art of certain periods of Florentine art. I hope that you will enjoy this brief (Four Minute) presentation and, as always, thank you for taking the time to read about bella Italia with “Travels Across Italy”!

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Michelangelo’s David towers over the history of Renaissance art in Florence. His expression of beauty, idealized and immortalized in stone, has drawn millions of visitors from around the world. Yet, there are other Davids, equally fascinating and artistically important, across the city of Florence. Four remain in the city and two have been placed in other collections.

Representations of David, the youthful seemingly weak warrior who changed the destiny of an army and a people, became the symbol of republican Florence. In the view of the  Signioria, the governing body of the city, David signified this strong message: “Don’t assume weakness in what might appear to be a feeble government. We have slingshots and we will use them.”

Donatello, David 1409/1416

Donatello, David 1409/1416

One of the earliest pieces sculpted by Donatello is his first David, completed in 1409. Though the work was given additional touches by the master in 1416, it still stands as a monumental change in the style of the more staid and accepted statues of his day; the mark of a master artist.

This is a gentle David, not a fierce warrior. The position of the fingers on the left hand, the curve of the body in a kind of easy repose, the lay of the right hand over the center of the body all convey someone at rest, someone who has not just beheaded a Goliath and turned the fortunes of war. Laying almost serenely at his feet, the head of the giant peers out from between David’s feet. Perplexing in its ease, confounding in its implied intent, this is truly a master’s piece.

Donatello, David, 1440

Donatello, David, 1440

The masterpiece of the collection of these varied and unique works of art is, I believe, the Donatello bronze David. Michelangelo is quoted in many sources as saying it was Donatello’s work, his eye and his commitment to an entirely new way of creating sculpture, that inspired Buonarotti’s work. Donatello’s is the second oldest of the Florentine Davids, having been completed in 1440. It was commissioned by Cosimo di Medici to be placed in the central courtyard of the family’s home in the center of Florence.

Cast in bronze and astonishingly different, viewers who study the piece – its details and hidden messages – are constantly amazed at its complexity. As with many masterful works of art, Donatello’s vision of the young David incites criticism and inquiry.

Why does Goliath have a helmet on his head? If David’s slingshot is, as the Bible implies, capable of accuracy with a stone, would that stone have penetrated the helmet? Would the blow have been so strong as to kill the Goliath?

Why does Donatello’s work figure a man as you view the piece from the front, yet from the back seems so feminine? The asexuality of this David presents one of its most confounding questions.

Then, there is that feather…Goliath’s helmet was cast with two feathers on it. One has been crushed by David’s foot, yet the other feather caresses nearly the entire distance of  the inner right thigh. Was the feather used to create increased stability for the pose of the cast bronze? Was it a slap in the face of the supposedly conservative morals of a city that was known to be anything but conservative?

Is this Donatello David an homage to the ancients – a rebirth of the classic bronze nudes of Greece?

The list continues. The more a viewer takes the time to study the statue on the first floor gallery of the Museo Nazionale del Bargello in Florence, the more questions that viewer takes away.

Verrocchio, David,

Verrocchio, David, 1473 – 1475

It was in 1473, that Andrea del Verrocchio began work on his bronze statue of David. (Note: Many art historians estimate the work to have been completed in ca. 1465). This work mimics the asexual posturing of the Donatello bronze David in many ways. The languid curve of the body, the position of the hand on the statue’s left hip, and a sword that seems to be held at the ready all underscore, once again, the figurative representation of Florence’s idealized vision of itself. The commission that Verrocchio received was for the work to be displayed in the Medici home.

A recent restoration of the bronze has uncovered gilding, hidden by centuries of varnish and pollution. Additionally, the placement of Goliath’s head on the piece, as originally intended, seems not to be where it has lain for centuries. Many art historians now believe that the head was originally intended to lay to the right of David’s right foot. At a recent loan to the High Museum of Art in Atlanta, the head was so positioned raising even more questions about this masterpiece of Renaissance art.

It is interesting to note that, until the next statue of David was commissioned, Verrocchio’s bronze still interpreted the youth as relatively weak, ostensibly incapable of violence. The piece now has a place of importance in the Museo Nazionale del Bargello in Florence.

Bellano, David,1470 - 1480

Bellano, David,
1470 – 1480

Sometime between 1470 and 1480, another young sculptor who was a student of Donatello, one Bartolomeo Bellano, created a bronze cast statue of David. This work, gilded on bronze, is another curious representation of the moments after Goliath’s death. Rather than head up in pride and strength, Bellano’s work shows the young man posed in a very similar way to Donatello’s bronze: the sword supports the right arm, the sling lays loose at the figure’s side, the head of the giant lays between the feet of the conqueror.  This particular piece, though created in Florence, now is part of the Met Museum’s collection in New York City.

An anonymous sculptor, known as the Master of the David and St. John statuettes, created a David out of terracotta in 1490. Absent the fact that this statue was created from fired terracotta rather than bronze, this work reflects very strongly the influence of Verrocchio’s 1476 work. The hand position, the lay of the hand on the left hip, the position of the sword all are similar in both style and, it seems, creative intent to that of Verrocchio. This piece is currently in storage and is not available for public viewing as of the date of the blog post.

m_of_david_stJohn_1490

Now comes Michelangelo. The young master selected a piece of Carrara marble that had long been abandoned in a side yard of the city’s cathedral workshops. Rossellino – who had attempted years before to carve the piece,  had ceased to work on it for reasons still unknown.

The Operai, those who were responsible for the works of the Duomo, were commissioning sculptors to create large statues to be placed along the buttresses of the Duomo, Santa Maria dei Fiori.  Michelangelo’s persistence and insistence that he should have the commission, even after masters like Leonardo da Vinci had been consulted, finally paid off. The Operai made it clear that this David was to be strong and veral. Since this statue was to be a major work for the duomo, it was to communicate to the world, THIS is Florence, this is the city of the Medici, of art and of financial power.

For as many books have been written about how the David was carved, there are differing opinions. One historian posits that the master used a wax model that was submerged in water. Michelangelo, he proposes, slowly let water out of the container and, as the level exposed the model, so carved Michelangelo. Another wrote that the statue was created,  as the master so often is quoted as saying, “I simply saw the figure of David in the marble and I carved away all the stone that did not belong.”

Whatever anyone’s interpretations are, the first view of the statue, mounted on a large base at the end of a low-lit corridor that is lined with Michelangelo’s “Slaves” (once displayed outdoors in the Boboli Gardens behind the Pitti Palace) is breathtaking. Few are unaffected by the stunning visual impact of Michelangelo’s masterpiece.

Michelangelo, David1501 - 1504

Michelangelo, David
1501 – 1504

The physics of moving such a heavy piece of marble to the top of the cathedral generated long discourse over the appropriate location for the statue. Final agreement was reached that it should stand outside the entrance doors of the city’s Palazzo Vecchio, the seat of the city government. It remained there from 1504 until 1873 when it was moved into the protection of the Accademia di Belle Arti.

The space that was once occupied by the David, in front of the Palazzo Vecchio, remained empty until 1910 when a copy of the David was placed in the same location.

Michelangelo’s intent in leaving the head of Goliath completely out of the work was in keeping with the Operai’s original intent that the work would surmount the entrance of the city’s cathedral. Others have interpreted the absence of the giant’s severed head as indication that Michelangelo created a young man who had made the decision to kill Goliath. The stone in the statues right hand and the position of the sling over his left shoulder seem to support that view. The fierce determination on the young man’s face, especially when seen straight on in photographs, also shows a focused determination to action.

Michelangelo, DavidFace Detail

Michelangelo, David
Face Detail

As with all things Florentine, surprises are found in nearly every museum, every piazza, every palazzo. When you are in the city, be sure to expand your understanding of the history of David. Many exist and each deserves the same attention that “the David” has garnered for centuries.

IF YOU GO: (Details for the Accademia follow the Bargello)

Museo Nazionale del Bargello

Via del Proconsolo, 4  50122 Florence, Italy

Tel: +39.055.238.8606

Web: Bargello

Entrance Tickets: Euro 4.00 per person

Hours (Please note the unusual hours that this museum is open)

Opening Hours:

Monday – Sunday, 08:15AM – 1:50PM

NOTE: The ticket office closes at 1:20PM and closing processed begin at 1:40PM

Closed the 1st, 3rd and 5th Sunday of each month,

Closed the 2nd and 4th Monday of each month

Closed January 1, May 1 and December 25.

Accademia di Belle Arti

Via Ricasoli, 66  50122 Florence, Italy

Tel: +39.055.215.449

Web: Accademia

Tickets: BOOK YOUR TICKETS and ENTRANCE TIME IN ADVANCE! (Web: Pre-Reserved Tickets)

Lines at the Accademia for public access are, during the summer, as long as a two hour wait. To avoid that delay, you can prepay for tickets to the Accademia to see the David on a specific day and for a specific time. Also note: the afternoon summer sun warms (and I mean WARMS) the wall where the public access line is located. To avoid any long delays book in advance!

Opening Hours:

Note; CLOSED ON MONDAY

Open 08:15AM to 6:50PM Tuesday to Sunday

Closed: Mondays, January 1, May 1 and December 25

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