Architecture

Patronage and New Models for the Performing Arts in the Third Millennium

Patronage and New Models for the Performing Arts in the Third Millennium 

6-9 May Florence held this International Symposium as part  of the 2013 Festival of Europe -

A diverse group of expert speakers gave papers illustrating both the methods – and the reasons – for both present and latter day patronage of the arts.

Yesterday – 8 May 2013,  I was privileged to attend the second day of the Symposium held by the International Studies Institute of Florence

The event was divided into three parts – the first day featuring Music, the second -Dance and the third – Theatre.  The morning session was held at the beautiful Palazzo Rucellai on the Via della Vigna Nuova in Florence.

This Blog is not intended as a thesis on the four lectures given in the morning in and around the subject of patronage of works including dancing but just a very brief expression of my overall impression of the messages delivered by the venerable guest speakers and my expression of thanks for being allowed to attend due to my support of the upcoming Festa della Cultura San Giovanni Battista 21-25 June 2013.

Our first speaker was Matteo Sansone of the New York University – who gained his PhD and then taught at the University of Edinburgh. His passion is Italian Opera and he has been teaching students to share his enjoyment at the University of New York in Florence since 2001.

An Opera director whom Matteo Sansone is less than enthusiastic about these days is Florentine born Franco Zeffirelli  - whilst acknowledging his earlier success with Maria Callas and the introduction of Australian Joan Sutherland into Europe, he pointed out that film director Zeffirelli’s obsession with detail and meticulous recreation of period decor led to audiences being completely distracted away from the Opera music they were there to enjoy.

The amusing Opera story that  Sansone used to illustrate this point was the production of Aida to which Zeffirelli added authenticity by including several horses, two camels and an elephant to the already crammed stage La Scala in Milan -some of the cast are shown below!

Zeffirelli’s great patron in New York was the widow of a Texas oil magnate called Mrs Sybil Harrington - she financed 16 MET operas offering increasingly lavish Zeffirelli productions of ”Boheme,” ”Tosca” and ”Turandot” as well as Otto Schenk’s ”Meistersinger.” Mrs Harrington loved opera on a grand scale and Zeffirelli loved to make them! It reminded me of Tchaikovsky’s  13-year relationship funded by the wealthy widow Nadezhda von Meck - if only there were more such patrons today.

 The second presentation was by John Honeig, Founder and Artistic Director of the Festa della Cultura S.Giovanni Battista - who was able to show us some fine photos of Bernardo Buontalenti designs for “Il Ballo del Granduca” in 1589 that made Zeffirelli’s efforts above look quite modest and unassuming!

Clearly lavish spectacle and stuffing the stage with supporting cast members is an ancient Florentine tradition – and Zeffirelli is manfully upholding it!

The spectacular art work , sculpture, temporary architecture and tapestry created to welcome Christina of Lorraine, the new bride of Duke Ferdinando 1 di Medici was festooned across the entire centro storico of Florence and the special events put on to mark the event would probably have cost the equivilant of the UK staging of the Olympics as well as the Royal Wedding in 2012 – and as with the Olympics the public paid the price for their attendance.

The six intermedi of the Ballo del GranDuca produced some of the most exciting integrated drama, dance and music spectacles ever seen at that time.

As can be seen from this concept drawing the whole performance would have driven any self respecting health and safely executive close to despair!

John’s lecture was multi-media,  seemlessly stitching together the music and the images of the dance, opera and sea-battle in the flooded courtyard of the Pitti Palace.  He explained why they needed – and we still need – a mix of private and public sponsorship to run such an event.

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The Festival of San Giovanni in Florence

The Patron Saint of Florence is San Giovanni Battista (St John the Baptist) so the time leading up to his feast day of 24th June is important in the Florentine calendar.

This image from the so called “Adimari ‘cassone’” painting on wood panel by Giovanni di ser Giovanni Guidi on wood in 1450 is now to be found in the famous Accademia gallery in Florence.

Frontal of the Adimari Cassone, detail of the left-hand section, c.1450  - Giovanni di ser Giovanni Guidi (see Scheggia)

As shown in this detail above this sumptiously dressed wedding party is being held in front of Florence’s famous Baptistery.

Building on last  year’s successful San Giovanni Battista Festa della Cultura Artistic Director John Hoenig is pleased to announce a new programme for 2013.

More events to be announced as the details are finalised but watch this website for more information about an event designed by a group within the expat community aimed at local Florentines, Italians and Tourists alike.

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Watercolour workshop with Glynis Barnes Mellish 20-22 April

Glynis Barnes Mellish

Glynis Barnes Mellish

Don’t forget our next painting workshop is fast approaching – once again we have access to the wonderful premises of Victor and Suzanna in Casa Guidi in Florence.

Esterno del palazzo

Just having the chance to spend time looking at the famous view from the windows that inspired Elizabeth Barrett Brownings poem Casa Guidi Windows is a treat in itself but we also e charismatic Victor to pose and the excellent Glynis Barnes Mellish to teach and inspire us!

Victor in Italian freedom fighter regalia

See Glynis site to see some of her wonderful work www.barnesmellish.com

and hope to see YOU at Casa Guidi in April ….!

End piece – we had a life drawing model too – all day  Sunday!

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From Acciaiuoli to Zecca Vecchia – the naming of streets in Florence

From Acciaiuoli to Zecca Vecchia - the Street – Names of Florence researched and written by Mark Roberts.

Mark Roberts

This little known book is a treasure-house for anyone interested in the history of Florence – all these Vias, Borgos, Piazzas, Vicolos and Valtas hold their history in their names – and Tuscany more than anywhere else that I know , except perhaps Ireland ,  loves to give people and places descriptive nicknames!

Many of Florence’s key streets are named after the people who lived there in their grand Palazzi  - The Acciaiuoli family giving their name in the 17th Century to the embankment stretch between the Ponte Vecchio and the Ponte Santa Trinita – this first example is a great one as these people made some of their money from steel ‘Acciaio’ – so their name is derived from their occupation – although like most of the prominent Florentine families they were also Bankers.

Other streets named after famous – and rich – Florentine families were the Borgo degli Albizi, Via degli Alfani, Piazza Antinori, Via de Bardi, Chiasso dei Baroncelli, Via de Benci, Via dei Canacci, Piazza de Cerchi, Via de Conti , Borgo di Greci, Lungarno Guicciardini.

The portrait below is of  Francesco Guicciardini 1483-1540 . He was  a  friend and critic of Niccolò Machiavelli, who lived in a Palazzo on the opposite side of this street, which was sadly destroyed by the departing Germans in 1944 in their attempt to stop the advance of the Allies without blowing up the Ponte Vecchio – although they blew up all the other beautful bridges across the Arno.

Guicciardini is considered to be one of the major political writers of the Italian Renaissance and his family named a long and important street.

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The family names continue with Via de Medici,  Piazza de Nerli, Lungarno Torrigiani , Via Tornabuoni, Via di Sassetti, Piazza de Pitti  - and the delightfully named Sdrucciolo de Pitti opposite the Palazzo – a steep little lane down which one might slip….you have been warned!

image of Luca Pitti – bankrupt banker

Other street names come from the activities practised there – The famous shopping strip Via dei Calzaioli was named in relation to the hosiers who made the strange pointed footwear portrayed in 14th and 15th century paintings -

Piazza della Calza up near the Porta Romana ( gate towards Rome) had a more complicated path to it’s name –  the word Calza was used to describe the white hood worn by the lay brothers of the church in that square that was dedicated to St Justus – it was so long that it seemed more like a stocking than a hood so Calza (stocking) became the slang term for the Piazza, and it has remained the Piazza della Calza even after Pope Clement IX suppressed the monastery in 1668 for producing and selling distilled alcohol from their pharmacy!

Other occupation based names include Via dei Banchi – the road where the street traders set up their stores – and incidently if they went bust they had to chop their bench in-half – indictating Bancha -rotta(broken) which means bankrupt.

Ladies of the night lived in the Via delle Belle Donne, and Condemned men were led by Black Hooded man called Compagnia dei Neri from the Bargello Prison along the Via dei Malcontenti – as no doubt they were , as they walked the final mile to the scaffold, pausing only to say their final prayers to the Virgin Mary at this tabernacle.

Tabernacolo miracoloso della Vergine in via San Giuseppe

One of the  sweetest names is Via Gomitolo dell’Oro – or Golden Elbow Street – a crooked street full of goldsmiths spinning the precious metal into golden thread and winding it into balls known as ‘gomitoli’. Incidently our English phrase ‘Elbow grease’ is known as Oilo di Gomito!

There are also street named after what was grown, living or sold there – Via della Vigna Vecchia – the old vineyard and Via della Vigna Nuova for the new vines planted at the now de-consecrated church of  San Pancrazio which since 1808, has served the seat of the city’s lottery, a tribunal, a tobacco factory and currently the museum showing the sculpture of Marino Marini.

The strangest story applies to the innocuous sounding street name of Porta Rossa – the red door or gate – which was the entrance to the Vallombrosan Monastery of Santa Trinita.  Not only was the door probably painted red – or it could have been un-plastered brick – but there was also , apparently, a bright red phallus painted on the keystone of the arch?

Shape also has a bearing on the name – Via Torta – is not a cake shop but a crooked street , which is unusual in Florence,  and is believed to follow the outline of the original Roman Amphitheatre.

         

The last street defined is Lungarno della Zecca Vecchia , which means ‘ Old Mint’  - what better way to end a book about the City that invented the Florin?

Mark Roberts book is sold at the Paper Back Exchange and the BM Bookshop in Florence but is difficult to find through the usual sources like Amazon etc.

If you have trouble sourcing a copy please contact me and I will try to help.

 

 

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Hotel Villa San Michele – Fiesole

Villa San Michele – Fiesole 

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What a beautiful place to spend an afternoon!

My last few days with two journalist friends has introduced me to some places I didn’t know, both in and around Florence, and as Heidi had been a resident in this hotel some years ago she recommended that we visit it for Amy’s on-line food magazine.

We were lucky that the weather had improved from a miserable drizzle in the morning to merely overcast in the afternoon because we found that after an enjoyable walk around Fiesole and the artigiano food market there were simply no taxis to be had – and calling one up from Florence to take us 500 yards down the hill just didn’t make sense!

So we entered the drive of this prestigious hotel like pilgrims – and rather hot and thirsty ones at that- as the entrance to this hotel is seriously uphill – and better suited to the minivan that they thoughtfully provide to bring their guests in and out of Florence – and blessedly – that included us on the way back down !

Our gracious hostess Patricia Soriano told us all about the hotel .

The building was originally a monastery and  the façade, which was based on a design attributed to Michelangelo, dates back to 1600 when the building was enlarged and renovated by Giovanni di Bartolommeo Davanzati -owner of Palazzo Davanzati and part of the family of Florentine trader Bernando Davanzati - who is  shown below in a painting by Christofo Allori  (son of painter Allessandro Allori )

The Hotel is now owned by the Venice Simplon Orient Express Group and Patricia told us she was thrilled to have met the legendary  James B. Sherwood when he stayed at the hotel a couple of years ago. Sherwood saved the luxury train in 1977 after he bought two of the special carriages at a Sotheby’s auction in Monte Carlo, and spent the next few years (and 16 million dollars!) locating, purchasing and restoring some 35 vintage carriages to recreate this fabled train.

The suites and bedrooms in this hotel are equally timeless and luxurious and frankly the beds look a whole lot more comfortable than those on that beautiful train!

The Hotel is also introducing a Kids Club next month – to enable parents to get a few hours alone to do some serious shopping – or sightseeing. The chapel has been redesigned to house up to a maximum of ten children being looked after by a qualified child-minder.

The most exciting part of our visit ,for me, was to find that the hotel has its very own Cenacolo with it’s very own Last Supper painted in 1642 by Fiesole born Baroque artist Nicodemo Ferrucci .

Hotel Villa San Michele, Florence, Italy

This restored fresco of  the Last Supper- like those of Ghirlandaio in San Marco and Allessandro Allori in the cenacolo at Santa Maria del Carmine, comes complete with a treaturous cat who, crouching on the same side of the table as the un-haloed Judas with his money bag , seems to have stolen some food from the table.

I think that this Hotel’s Cenacolo has got to be a great place to end a Last Supper Tour – with an aperitivi – or even a supper cooked by the Hotels long-standing (30 years) and well regarded, Chef Attilio di Fabrizio?

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Last but not least – I think this must be an unbeatable view of Florence  - again -thanks for the hospitality – and what a lovely way to spend an afternoon?

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La Fonte di Gaia – Siena

When I visited Siena with Chester and Maria last week I was struck by my ignorance of the provenance of this fountain – I had a memory that it had taken a long time to complete and the name Jacopo della Quercia at the back of my mind , but also a sense that his fountain wasn’t the beginning – or even the end -of the story , so I promised to look it up for them.

Naturally water was needed in the Piazza del Campo and the first fountain was designed with a statue of the goddess Venus. This fountain  called Gaia (or ‘joyful‘),was completed in 1343, after 8 years of work, and initially the Sienese were delighted with it – however after an outbreak of Black Plague which took the lives of a third of the population of the City – they blamed the  Statue of Venus for bringing them ill fortune and destroyed it!

Therefore the first fountain Fonte di Gaia of the 1300s was replaced in 1419 by that of Jacopo della Quercia.( 1374 – 1438)

031 le vite, jacopo dalla quercia.jpg

The new rectangular fountain , as shown above, was built in white marble and dedicated to the Virgin. It is adorned on the three sides by many statues and multiple spouts – including water from the mouth of  wolf statues which remind us of the suckling of Remus  - by a she wolf. Remus was the father of  Senius,  whom legend tells us was the founder of Siena. Legend also tells us that Senios rode a black horse and his brother Aschious a white one  -which led to Siena adopting heraldic colours of black and white.

In reality Siena was probably originally an Etruscan hilltop village which was developed as a fortress town by the Romans during the reign of Octavian Augustus. .

Once again the fountain ground slowly towards completion – largely because  della Quercia accepted other commissions at the same time. He started in 1414 and the fountain was only finished in 1419 – but he was probably pleased that he had taken three years fewer than his predecessors’!.

In 1898 the water damaged old statues were replaced by copies  made by Tito Sarrocchi. The originals are now on display in the loggia of the Palazzo Pubblico.

Today the fountain is as much an attraction for visitors, children – and huge numbers of pigeons as it ever was!

 

 

It was also visited by Chester and Marie in March 2013

Chester and Maria at Fonte di Gaia

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The Bridge Trip – A perfect day to see Sydney from above

Today we ticked another box off our “must do in Australia” list and climbed the Sydney Harbour Bridge.

Despite the Great Depression the bridge was completed and opened in March 1932 under the directions of Dr J.J.C. Bradfield of the NSW Department of Public Works, designed and built by British firm Dorman Long and Co Ltd of Middlesbrough. We were told they used Australian, Irish and Italian stonemasons for the complex brick work, which took a minimum of a week to chisel each of the thousands of stone blocks into shape and there was  much  competition between the national pride of the builders to get it down below a week.

The bridge’s design was influenced by the Hell Gate Bridge in New York but it Sydney some people refer to it rather  more affectionately as The Coathanger. It used to be the world’s widest long-span bridge, at 48.8 meters (160 feet) wide, until construction of the new Port Mann Bridge in Vancouver

The weather today was  perfect : sunny -but not too hot, breezy -but not blowing a gale ….and not raining!

We chose the 3.5 hour climb as it was better value for money – ie exactly the same price as the 2.5 hour climb……??

N? H?o!

Actually this is simple to understand as the costs are largely in the safety equipment and laundry costs for all the gear they gave us to wear – Onezees, hats, handkerchiefs, belts, harnesses in the summer, plus rainwear, gloves and overshoes in bad weather. Wearing of safety equipment and these delightful dungarees is compulsory – even for the 50 odd people who have chosen to hold their wedding on the bridge!

Then we have an introductory ladder climbing training session – and I mustn’t forget the breathalyzer …!

We were joined on our climb by Veteran climber Lloyd – undertaking his  55th  bridge climb aged 85 years – passionate about the bridge since seeing it’s opening when he was  only 5 years old. I hope I can still climb the bridge when aged 85!

Our guide was excellent , full of anecdotes about the history of the bridge and the Opera House.

An interesting story about the bridge opening in 1932 was in relation to a group of monarchists who felt that a member of the Royal family should open the bridge in preference to a Labour Premier of New South Wales, and having failed to develop any workable plots to kidnap or asassinate Premier Jack Lang, who was looking forward to performing the ceremony, they planted a soldier Francis de Groot., who charged forward and slashed the ribbon with his sword in the name of King and Country and “all the right thinking people of Australia!”

De Groot was arrested and imprisoned for some days whilst they debated whether or not he was insane – finally judged sane and freed with a $5 fine.

The Bridge opening ceremony was set up again and this time the Premier did manage to cut the ribbon!

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