Tuscan Traveler

A couple of days every week a phenomenon overwhelms even the most hardened Florentine.  It is know to some as the “boat people” scrooge. It happens on the days when gigantic cruise ships dock at Livorno. Thousands of pastel-clad tourists shod in flip-flops are unloaded and stuffed into dozens of buses, which transport them to Florence for eight hours of hot, humid sightseeing. They are herded from the Academia to the Uffizi to the Duomo, then through Piazza Signoria and across the Ponte Vecchio.

To escape the armies of sweating, sore-footed deck-crawlers, the wise visitor to Florence will decide on a Bardini Day – a morning in the cool blue-walled confines of the Palazzo Bardini (Museo Stefano Bardini), a lunch in the Bardini Garden(Il Giardino Bardini), and a late afternoon in the hill-topping Villa Bardini.

Grand Hall of the Palazzo Bardini

Palazzo Bardini

The faithful reader of Tuscan Traveler already knows a bit about the Stefano Bardini Museum near the Arno so there is no need to repeat it all again, except to say that on September 6 and September 13, at 11am, free English language tours are being offered of the Bardini Museum by  Con gli Occhi di … And to repeat that the museum is almost always empty so it is soothing to wander through Stefano Bardini’s stuff before emerging into the noonday sun turning left to Borgo San Niccolo’ and then right to the entrance of the Bardini Gardens. (One caveat: To complete a full Bardini Day, it must be done on Saturday, Sunday or Monday because these are the only days the Museo Bardini is open.)

Bardini Garden

The Bardini Garden, unlike its popular well-worn cousin, the Boboli (a ticket to one gets the visitor into the other), is practically empty at all times. It is spread over almost ten acres, set on a 70 meter slope – the view from the top is panoramic. (The garden is open seven days a week from 8:30am to 6:30pm, so a Bardini Day can start here.)

View of the Duomo from the Bardini Garden

Although it is named for the last owner, Stefano Bardini, throughout the centuries the garden has had several owners, predominantely the Mozzi family, who owned the property and the palazzo at its base off and on from the 13th century to the 1880s. The garden is now state-owned property, as a result of a testamentary donation by Ugo Bardini, Stefano’s son, in the 1960s. It was then abandoned for over 40 years.  Restoration started in 1998 and it opened to the public in 2005.

Baroque staircase climbs the Bardini Garden

The garden is divided into three sections: 1) English wood in the west; 2) the baroque staircase in the center; and 3) the agricultural part in the east. Each part has its own history and a richness of components, among which water and sculpture play an essential role. Secluded pathways, grand vistas, flowering arbors, shaded benches and a high loggia, allow the visitor to create their own personal experience in the garden.

Looking out of the Villa Bardini to the edge of the English woods in the Bardini Garden

The loggia, with its spectacular view of the historic center of Florence, the cathedral dome, and the Arno River, is the perfect place for an hour or two respite. Lunch, aperitivi, as well as coffee and sweets are offered. On the perfect Bardini Day, one should plan to arrive at the loggia around 1pm to be refreshed and restored before going on to the Villa Bardini, only a couple of minutes away from the café.

Villa Bardini

Villa Bardini stands at the top of the garden and opens on to Costa San Giorgio, just up the street from where Galileo lived. The original 14th century villa was restructured and enlarged in the 17th century by the architect Gherardo Silvani for his friend Francesco Manadori (it was previously known as Villa Manadora or as Villa Belvedere, because of its magnificent view). It was later acquired by Stefano Bardini, who further enlarged it and the surrounding gardens. Bardini also added the loggia and a limonaia (greenhouse for citrus trees).

Designed by Roberto Capucci

Abandoned for years, the villa, which once contained even more of the antique collections of Bardini, has been restored and transformed into a cultural center to host exhibitions, concerts, conventions and conferences,. It incorporates two new museums: the Roberto Capucci Museum containing many of the famous designer’s sculptural ball gowns and elegant party dresses); and the Pietro Annigoni Museum, dedicated to this contemporary painter, whose work was inspired by the great artists of the Renaissance.

Detail of afternoon dress by Capucci

Until October 17, 2010, the Villa Bardini is also hosting a temporary exhibit that is associated with the Caravaggio exhibits at the Pitt and the Uffizi – Caravaggio and Modernity.

Palazzo Web Site

Garden Web Site

Villa Web Site

GUEST POST by HOLLY from ESCAPIO.COM

Tuscany evokes images of rolling hills, sumptuous cuisine and breathtaking architecture. There is a wealth of compelling history to be discovered in the cities and countryside alike. Visitors can experience the luxury of living in historic palaces, castles and villas in unique Tuscan and Florentine hotels.

The magic starts upon entry to the Castello Magnani Feroni

No matter if you wish to stay in bustling city centres or tranquil hillside villages, there are extraordinary historic buildings, which have been converted into chic boutique hotels giving the guest a truly timeless experience. These historically significant abodes range from opulent palazzos in Florence to picturesque medieval castles surrounded by olive groves. Tuscany deserves its famed status as one of the world’s highlights for discerning travellers to indulge in awe inspiring environments complemented by elegant ambiance, exquisite wine selections and epicurean delights.

The magnificent Palazzo Magnani Feroni was purchased by the Marchese Feroni in 1770. During the 1800s, Palazzo Magnani Feroni became a hub for Florence’s aristocracy and was even listed in the “Golden Book of Florentine Nobility” by Grand Duke Ferdinando I de’ Medici. From 1735 onwards, the palace housed one of Europe’s most prominent art galleries, the Galleria Salvadori.

Palatial Suite of the Palazzo Magani Feroni

The Palazzo Magnani Feroni is located within San Frediano, the medieval heart of Florence. Guests can luxuriate in one of the 12 suites and elegant common rooms, which are tastefully accentuated by numerous art pieces, original frescoes, and traditional furniture that date back to the 18th century. Today, the palazzo falls under the jurisdiction of the Italian Artistic Patrimony Protection Authority. Treating yourself to a stay at this lavish, historical Palazzo is sure to make you feel like modern royalty.

Castello di Vicarello overlooks the Tuscan Maremma

Exquisitely and remotely located on a green hilltop at the heart of the Maremma Grossetana in Tuscany, stands Castello di Vicarello a castle hotel that dates back to the year 1112. The high ground was first settled by the Etruscans, and then later was the site of a spa built by the Romans. The Maremma is known as “Tuscany’s Wild West”, a once-forgotten area with tales of exiles and pirates, plagues and witches. The elaborately renovated castle hotel has the air of a fortress straight out of a 12th century fairy tale. Only 45 km (23 mi) from Siena, this rustic-luxe boutique hotel pampers its guests with authentic home-cooked Tuscan meals straight out of the traditional farmhouse kitchen, its own working vineyard and olive grove. The romantic, yet comfortable, decor allows guests to indulge in a special rustic and relaxed atmosphere.

These historical buildings are just two of the many converted buildings peppered across Tuscany, which invite guests to make their own history. Ancient walls and period furniture that have seen generations of families and noble visitors for centuries, now welcome an international clientele to be Italian for a short, but very special moment in time.

Guest contribution by Holly Maguire from Escapio.com where the Unique Tuscany Hotels include historic palaces, former monasteries, rustic farmhouses and intimate B&Bs.

The taxi drivers of London are the best in the world. New York and San Francisco have excellent cabbies. Even Washington, DC, where they rarely know how to find an address, the taxi cab drivers are polite and want to give good service.

But in Italy, cab drivers are a protected class who seem to believe the clients are always wrong, deserving of  barely a nod, much less help with their luggage, and having no say about internal temperature or speed of the cab.

And don’t even try to figure out the fee system. Just know that it will gouge you. One night at 10:15pm, when buses pass only once an hour in the periphery of Florence, I called a cab. It arrived with 6.50 euro ($8.50) on the meter. When I questioned the extra fee, the driver barked out that it was the night fee for serves after 10pm.

Florentine taxis sitting in wait behind the Duomo

Last week in the New York Times, David Segal used a story about Italian taxi drivers to illustrate his piece about Italy’s economic future:

“Five years ago, Francesco Giavazzi needed a taxi. Cabs are relatively scarce in Milan, especially at 5 a.m., when he wanted to head to the airport, so he called a company at 4:30 to schedule a pickup. But when he climbed into the cab half an hour later, he discovered that the meter had been running for more than 20 minutes, because the taxi driver had arrived soon after the call and started charging for his time. Allowed by the rules, but to Mr. Giavazzi, utterly unfair.

“So it was 20 euros before we started the trip to the airport,” recalls Mr. Giavazzi, who is an economics professor at Bocconi University. “I said, ‘This is impossible.’ ”

“Professor Giavazzi later wrote an op-ed article denouncing this episode as another example of the toll exacted by Italy’s innumerable guilds, known by several names here, including “associazioni di categoria.” (These are different from unions, another force here, in that guilds are made up of independent players in a trade or profession who have joined to keep outsiders out and maintain standards, as opposed to representing employees in negotiations with management, as a union might.) Even baby sitters have associations in Italy.

“The op-ed did not endear Professor Giavazzi to the city’s cab drivers. They pinned leaflets with his name and address at taxi stands around Milan and for the next five nights, cabs drove around his home, honking their horns.”

Mr. Segal’s article, Is Italy Too Italian?, is enlightening. He describes some of the many reasons that Italy’s economy won’t go the way of Greece, but will hobble the country for decades to come, perhaps forever. The anti-competitive taxi “service” is only a symptom of  an ailing country that can only watch its best days in the rear view mirror.

Just over a year ago, the Bardini Museum in Florence opened to the public again after long and accurate restoration work aimed at re-establishing the configuration that its founder, the antiquarian Stefano Bardini, had originally given the exhibition. Bardini trained as a painter and became famous as a restorer and art dealer. He created a collection of artwork with a deep passion for the Renaissance and skill at unearthing medieval Florence. All can now enjoy this distinctive museum, which was actually the antiques showroom where Bardini sold thousands of pieces that now grace the galleries of museums as well as private collections throughout the world.

Bits and pieces of ancient Florence for sale by Bardini

Bardini’s blue walls have been restored from the ochre preferred by some early 20th century conservator. On account of its uniqueness, many, including Jacquemart-Andrè in Paris and Isabella Stewart Gardner at Fenway Court in Boston, imitated the blue color employed by Bardini. In fact, Mrs. Gardner worked hard to get the exact color of blue to show off her marble sculptures in the same way Bardini knew it would highlight the creamy white of those pieces he had for sale. See her correspondence with Renaissance art expert, Bernard Berenson, on the subject.

In 1881, Bardini acquired the deconsecrated church and convent of San Gregorio facing piazza dei Mozzi in the Oltrarnoand. He set about transforming it into his opulent residence, restoration studio and showroom. Bardini donated the palazzo to the Municipal Administration of Florence in 1922 as a museum.

One of the oldest ceramic figures in Bardini's collection

The building is remarkable for its use of doors, windows and moldings of old fragments originally belonging to ruined churches and villas. The ceilings are magnificent examples of Venetian glass and Tuscan woodwork ranging from the 15th to the 17th centuries.

The collection comprises sculptures, paintings, furniture pieces, ceramic pieces, tapestries, as well as fragments of the old center of Florence, salvaged before its destruction in the 1860s to make way for the new national government buildings. These items are displayed on the ground and the first floors according to a layout that fully reflects the character of a typically private collection. In addition to Roman sarcophagi, capitals, Roman and Gothic relief work, there are also other remarkable examples like the work of the Della Robbia brothers (15th and 16th century), works attributed to Donatello and to Nino or Giovanni Pisano, in addition to the famous “Charity” by Tino di Camaino (1280 app.-1337).

Pollaiolo's St. Michael Archangel slays the dragon

The most outstanding painting of the collection is perhaps St. Michael Archangel by Antonio Del Pollaiolo (1431-1498), although there are many other precious works among the collections of weapons, 15th century polychrome stuccoes and wooden sculpture. The original of the famed bronze of the wild boar, Il Porcellino, (Pietro Tacca, 1612) a copy of which draws crowds in the Mercato Nuovo, sits bored in a small alcove of its own.

Il Porcellino - the original bronze inspired by an ancient Roman marble

The museum is rarely visited by tour groups, making it the perfect place to visit on a hot summer day in Florence. It is only open three days a week – Saturday, Sunday and Monday from 11am to 5pm.

Address: Via dei Renai, 37

Phone: 055.234.2427

Ticket Price: 5 euro

Secrets From My Tuscan Kitchen

CONGRATULATIONS!!!

JUDY WITTS has published the 2,000th copy of her new cookbook SECRETS FROM MY TUSCAN KITCHEN.

To celebrate 25 years in Italy, Judy Witts Francini of Divina Cucina self-published the collection of recipes she used for the past 20 years at her cooking school in Florence and wrote about in her blog Over a Tuscan Stove.

The cookbook started out as a handwritten, spiral-bound, photocopied edition that she gave to her students.

In 2008, she took the time to recreate it as a more permanent collection and developed a blog to go with it.

There are almost one hundred of Judy’s favorite recipes, perfected in her classes and her home kitchen, in the pages of Secets From My Tuscan Kitchen .

To order an autographed copy, you can use the link online.

Secrets From My Tuscan Kitchen is available also at these Tuscan bookstores, vendors and restaurants:

Florence:

Paperback Exchange- Via delle Oche 4r.  Paperback Exchange is also Tuscan Traveler’s favorite bookshop in Florence.

In the Central Market at Conti, the Conti family stand for olive oil, fruits,vegetables, balsamic vinegar, and more.

Judy's food photos ready for her next book

Near the market at Casa del Vino, a wine bar that specializes in small select wineries.

Osteria Pepo on Via Rosina

Uffizi Gallery Bookshop

Panzano in Chianti:

Enoteca Baldi- in the main piazza, specializing in wine from the Chianti Classico region

Siena at:

BookShop Siena,  Pian dei Mantellini, 34

Liberia Senese, Via della Citta’ 62/66

What might Judy be up to NEXT????

The mayor says he’s going to fix it, but he doesn’t seem to have time while he’s throwing White Night festivities and Blue Night parties and stopping the bus system in its track by creating the fabulous pedestrian zone around the Duomo. He’s having equal trouble with potholes. But potholes and graffiti aren’t sexy and aren’t likely to disappear. So I will stay Burnt To A Crisp about the graffiti destroying Florence.

OPEN YOUR EYES TO comics DAY & Duke of Urbino

The mayor granted a permit to OPEN YOUR EYES TO comics DAY –maybe to glam up graffiti. But it was for only for one day and now the artwork has been vandalized.

OPEN YOUR EYES TO comics DAY on Banca Toscana

Florence has a long history of graffiti. But the graffiti of the 16^th century  now peeks out from behind the graffiti of today.

16th century graffiti meets 2010 graffiti

Scrawls flank my front door.

Burnt to a Crisp about my doorway

The most famous ugly graffiti in Italy is in Verona – along the wall to the fake balcony of Shakespeare’s fantasy Juliet.

Mess in the name of Love

Most of the graffiti in Florence is attributed to teenaged dweebs. Gangs aren’t tagging boundaries inside the historic center. English proficiency isn’t common, which doesn’t necessarily let the thousands of American students off the hook. Italian is the language of choice for these vandals.

Madonna in tabernacle looks down on scrawled walls

But not always … In 2008, a Japanese television crew filming on top of the Duomo caught some familiar scribbles and broadcast them. Unlike the justice system of Florence or, in fact, anywhere in Italy, the Japanese found in this a moment of national shame and came down hard on a high school teacher for expressing his love in ink on a wall.

A 19-year-old fashion student from Japan’s Gifu University was caught in another incident.  She offered 600 euros ($950 in 2008) to repair the damage.

“We accept the apologies (and) we accept the money exceptionally for the gesture’s great sense of civility,” said the Duomo’s chief curator Anna Mitrano, flanked by the university’s visiting rector, Yukitoshi Matsuda.

Except for Ms. Mitrano, Italians have expressed shock and amusement over Japan’s attitude. Perhaps a little more shame and pride and a little less official complacency and public cynicism would help bring Florence’s center back to its historic beauty.

Graffiti is known worldwide, but word itself has nothing to do with scrawls on walls. In Italy, the words sgraffito and sgraffiti come from the Italian word sgraffiare (”to scratch”), ultimately from the Greek γράφειν (gráphein), meaning “to write”.

Graffiti, the bane of all modern cities in the form of spray paint, in its original sense refers to marks scratched onto a surface with a tapered point. The graffito technique has been used since prehistoric times. Decades ago, my father showed me graffito animals, birds and people carved on the tufa cave walls in northern New Mexico. But in Florence, starting in the 1400s, it was a technique of wall design, where the top layer of pigment or colored plaster is scratched through to reveal an underlying layer.

Elaborate 16th century graffiti on Bianca Cappello's house

“The historian and artist Giorgio Vasari recorded the graffito technique step by step. First, one paints the wall of a palazzo with a layer of lime plaster, coloured with burnt herbs or other dark pigments. Once the first layer is dry, another is painted on, this time of white plaster, distributed uniformly. On top of this second layer are laid punched-out designs, or stencils, which are reproduced on the wall with powdered charcoal (referred to as tecnica dello spolvero in Italian). A tapered awl is then used to trace the resulting pattern on the wall, cutting through the layer of white plaster to reveal the darker, underlying layer. Thus, by using the same colours as a palazzo’s frescos, the graffito designs could be used to add shadow and depth to the overall decoration.” (FirenzeTurismo.it)

Allegorical graffiti on the façade of Palazzo Ramirez de Montalvo

My favorite examples of historic graffiti in Florence were created during the second half of the 16th century, when the graffito technique was used to design Mannerist allegories incorporating grotesque (meaning in the style of the “grotto”) designs and figures. These are still partially visible on the façade of the Palazzo Ramirez de Montalvo in Borgo degli Albizi and fully realized on the House of Bianca Cappello (grotesque sgraffito decoration by Bernardino Poccetti, 1566) on Via Maggio.

When using the term graffiti to mean defacing buildings, Michelangelo has the dubious pleasure of allegedly being one of the first famous graffiti artists – not with paint, but in the caveman version of scratching a design with a sharp point. On the corner of the Palazzo Vecchio, the one nearest to the Uffizi Gallery, any visitor to Florence can find a carving of a man’s face.

Did Micheangelo deface the front of the Palazzo Vecchio?

There is more than one version of the story, but the artistry is attributed only to Michelangelo. One version states that ever willing to take a dare, and supremely confident, Michelangelo turned his back, carving free-hand without looking, into the pietra serena of the city hall’s wall, he etched his own profile into the stone. Another variation has it that he carved blindly the likeness of a personal foe, so that Florentines would never forget the man’s face.

Sanctioned graffiti for OPEN YOUR EYES TO Comics DAY

Last week, a one-day comics festival, OPEN YOUR EYES TO Comics DAY, came to Florence. Via del Corso was decorated with four modern graffiti wall decorations – sanctioned by the mayor. These were not scratched into walls, but painted on to wallboard. They won’t last 400 years, but they are better than the scourge that defiles most of Florence’s walls.

To be continued …

The Laurentian Library (Biblioteca Medicea Laurenziana) in the cloister of the Church of San Lorenzo is not a library where the visitor to Florence can hang out in comfy chairs, but it is one of the most important libraries in Florence –  well worth a visit. The Laurentian was designed by Michelangelo and houses one of the largest neo-classical collections in the world. It is used today by scholars.

Stairway in the Vestibule of the Laurentian Library

Designed by Michelangelo

The Laurentian Library was commissioned in 1523 by Giulio d’Medici, who became Pope Clement VII. Michelangelo came under intense pressure to work quickly; the correspondence between him and Pope Clement is said to be one of the most fascinating records of a creative dialogue between a 16th century patron and an architect.Construction began in 1525, but when Michelangelo left Florence in 1534, only the walls of the reading room were complete. Architects Tribolo and Ammannati continued the project, based on plans and verbal instructions from Michelangelo. The library opened in 1571 and is one of Michelangelo’s most important architectural achievements.

Reading Room

The vestibule, a large box-shaped entry (19.50 meters long, 20.30 meters wide, and 14.6 meters high), was built above existing monastic quarters with its entrance on the upper level of the cloisters. Originally, Michelangelo had planned for a skylight to allow more light into the Library’s entrance hall, but the Pope believed that it would cause the roof to leak, so a high band of windows was incorporated into the west wall. Solely for decorative purposes, blank tapering windows, framed in gray pietra serena, circumscribe the white interior of the vestibule, separated by paired columns set into the wall.

There may have been a carved wooden ceiling (matching that in the Reading Room) planned for the entry hall, but today the area is covered in a canvass painted to look like intricately carved wood.

Stairway designed by Michelangelo

The Stairway

The lower half of the vestibule is virtually filled with an out-sized staircase that announces the importance of the Library. This is the singular most popular part of the Library for most visitors – one of the most famous stairways in the world.

The planned design of the stairs changed dramatically over time. Originally in the first design (1524), two flights of stairs were placed against the side walls and formed a bridge in front of the reading room door. A year later the stairway was moved to the middle of the vestibule. Tribolo attempted to carry out this plan in 1550, but nothing was built. Ammannati then took on the challenge of interpreting Michelangelo’s ideas to the best of his ability using a small clay model, scanty material, and Michelangelo’s instructions. Reportedly, Michelangelo envisioned the stairs to be made of a dark wood, but the final construction incorporated fine-grained sandstone, pietra serena, quarried in Fiesole, near where Michelangelo lived as a small child.

Detail on Michelangelo's Stairway

The staircase leads up to the Reading Room and takes up half of the floor of the vestibule. The treads of the center flights are convex and vary in width, while the outer flights are straight. The three lowest steps of the central flight are wider and higher than the others, almost like concentric oval slabs. As the stairway descends, it divides into three flights. “The dynamic sculpture of the staircase appears to pour forth from the upper level like lava and compress the floor space of the vestibule.” (Fazio, et al. in Buildings Across Time)

Design for the Entry Door

Michelangelo created this sketch for the door between the vestibule and the Reading Room. One side of the original sketch shows the side of the door visible from inside the library, while the vestibule side is shown on the back of the page.

Sketch of Doorway into Library

The door needed a blank panel above the opening for a dedicatory inscription on the vestibule side and this is shown in all the sketches. In the finished design, more space had to be found as Clement wanted a Latin inscription of between 100 and 140 letters (Twitter – inspired by Michelangelo and the Pope?).

The Reading Room

The long narrow Reading Room runs the full length of one side of San Lorenzo’s square cloister. There are two blocks of bench seats separated by a center aisle with the backs of each serving as desks for the benches behind them. At one time, large illuminated manuscripts were chained to the desks to discourage theft. The Reading Room is well lit by the stained-glass windows that run along the both walls. The newly restored windows display the crest of the Medici. The wide central aisle between the desks is made of large creamy white and burnished red terra cotta tiles in geometric designs.

Desk and Bench Combination

Mid-way down the Reading Room, the desks on the right side are separated by a short walkway that ends at the entrance of a square, vaulted domed room, now used for conferences and meetings.

The Collection

The Laurentian Library houses one of the most important and prestigious collection of antique books in Italy. The humanistic interests of Cosimo de’ Medici (Cosimo the Elder) in the early 15th century led him to collect manuscripts from all over Europe, as well from Greece and the Middle East. His friendship with Niccolò Niccoli, with whom he shared a passion for collecting ancient manuscripts of the works of classical authors, resulted, in 1437, in the inheritance of most of Niccoli’s library.

Cosimo’s son Piero added more volumes and his grandson Lorenzo (the Magnificent) completed the collection with the acquisition of hundreds of Greek texts.

The library, although kept largely intact, weathered the trials and tribulations of the Medici family. In 1494, following the sentence of exile imposed on Lorenzo’s son Piero (the Unfortunate), and thus, the banishment from Florence of the whole of the Medici family; the library was confiscated by the city government and absorbed into the library of the San Marco monastery. In 1508, the collection was recovered by Cardinal Giovanni de’ Medici (the second son of Lorenzo the Magnificent, who later became Pope Leo X) who transferred it to Rome. His successor Clement VII (Giulio de’ Medici, son of Lorenzo’s brother Giuliano) brought the collection back to Florence in 1523 and immediately commissioned Michelangelo to design a library to house it.

Exhibit of health/diet books

Exhibits

Usually, there is a curated exhibit of historic books from the Laurentian Library on display in space adjacent to the Reading Room. The current show is Díaita. Le regole della salute nei manoscritti della Biblioteca Medicea Laurenziana (historical books about diet and the rules of health). Past exhibits have included monsters and fantastical creatures found in illuminated manuscripts and the historical “shapes” of  books, including papyrus and scrolls.

Laurentian Library

Address: Piazza S. Lorenzo, 9

Telephone: +39 055210760

Hours:  Monday through Saturday: 9.30am – 1.30pm

Closed: Sunday

Entrance: 3 euro

Current Exhibit:  February 13 to June 26, 2010

Web Site: www.bml.firenze.sbn.it

Ben & Jerry's cozying up to the Duomo

I’m not a big “no-global” proponent; so if someone in, say, Vermont, is making great ice cream, I think it should be shared with the rest of the world. Therefore, when Ben & Jerry’s (full disclosure: I have eaten hundreds of pints of B&J’s in my lifetime) was scheduled to open a store in Florence that wasn’t a major issue for me.

But when that storefront is just a few feet from the façade of the Duomo and my favorite flavors (Vanilla Heath Bar Crunch and Triple Caramel Chunk,) of the Vermont ice cream have turned in to a frozen substance made by Unilever in Holland, renamed Caramel Chew Chew and Vanilla Toffee Crunch (because evidently there are no Heath Bars in Europe), then I’m just a little bit burnt to a crisp under this Tuscan sun.

Ice cream is an important part of the American culture, but here in Italy, it is a religion. On a weekly basis more Italians enter a gelateria than a church. They argue about gelato more than religion, too. Florentines, especially, can debate long and hard about their favorite gelateria:  describing the benefits of local gelato-masters vs. the new “foreigners” (from Turin or Bologna or Sicily); asserting that creamy cioccolato fondente is better than cioccolato extra noir that lacks both eggs and cream; and despairing that not only do foreigners commit the sins of eating semifreddo in the summer, granita in the winter, but the tourists also request a 5 euro cone (way too big) from any so-called gelato stand that stacks the factory-made blocks of ice cream, sculpts them into a hill, and drapes fruit all over the mountainous mass.

Italian gelato is a necessity, not a luxury

‘Gelato’ means ‘partially frozen’ or “icy” in Italian and the various kinds of ice cream served throughout the country are all known by that name.  You can order gelato in any little town, in any region and basically know what you will get. But it is important to keep in mind that Italy has only been a unified country for 150 years, so each of the former city states is justifiably proud of its own recipe: in the mountainous North, where it’s cooler, the gelato is thicker and creamier, often made with cream and egg yolks – chocolate, zabaione, and hazelnuts prevail. In the South, the gelato tends to be lighter, using milk as well as and fruits, such as Sorrento lemons, and nuts, like Sicilian pistacchios from Bronte.

To some the cone is as important as the gelato - RivaReno agrees

Florentines have had a 500-year love affair with gelato. Bernardo Buontalenti – architect, engineer and theatrical set designer – supposedly invented churned-over-ice, milk-based gelato for the court of Francesco de’ Medici to impress a visiting Spanish delegation in 1565. Today, there is a rich creamy gelato that bears Buontalenti’s name.

Cone or cup is a personal choice

But getting back to Ben & Jerry’s … it’s one of America’s premium ice creams. If gelato is Italian ice cream, what is the difference? First of all, there is the percentage of butterfat. B&J’s clocks in at around 17%, whereas most Italian gelato averages 5% to 9%. Also, handcrafted gelato is served same-day fresh so binders and preservatives aren’t necessary.

But there’s more … David Lebovitz, chocolate maven and world-reknown ice cream aficionado, author of The Perfect Scoop, explains it best. “… for the most part, the machines used to make gelato move very slowly as they churn, introducing little air into the mixture so the finished gelato is dense and thick. Unlike standard ice cream-making machines, usually the ‘dasher’ (paddle) moves up and down while the canister turns, so little air is whipped into the mixture while it churns. Also the storage freezers used for holding gelato tend to be kept a few degrees warmer (up to 10 degrees F) than a normal ice cream dipping cabinet, so the gelato keeps its silky, creamier texture. Sometimes there are no egg yolks or cream in the base, so the gelato will highlight the highly-concentrated taste of what’s been added, like chocolate, coffee, or whatever flavoring is used, with less taste and texture of fat to intrude.”

Okay, so now you know what gelato is, but what happens when you walk into a Florentine gelateria?  Yes, there is a lot of gelato, but you also see semifreddo, sorbetto, and granita.  Generally these are all classified as gelato … remember? … frozen/icy. Here is a handy guide:

Carapina's Fruit Calendar - no flavor before its time

gelato – most everything offered, but there is also …

semifreddo – means “half cold” and is made from the same base as gelato, but has whipped cream folded in to create a frozen mousse.

sorbetto – is a sorbet, usually made with any kind of fruit, but chocolate and caffé flavors are making a strong showing, as well as herb-infused (basil, rosemary, etc.) offerings. Great as a palate cleanser between courses in an extended multi-course meal.

granita – shaved ice, made with water, sugar and fruit flavors – strawberry and lemon are favorites – or coffee (great with a dab of whipped cream), mint or almonds.  Served in a plastic cup or glass, but also on brioche in Sicily in the summertime.

Tuscan Traveler and Friend in Florence join the debate by claiming that not only does Florence have the best gelato in Italy, but that these are the best gelaterias in Florence:

Grom changes its gelato menu every month

Grom - Via del Campanile – corner with Via delle Oche – Piedmonte-based, consistently great, only the best ingredients, innovative, monthly flavor list online, best cone. Try: Zabaione, Crema di Grom, and Caffè

Gelateria La Carraia –  Piazza Nazario Sauro, 25r – Ponte alla Carraia – owned by the Florentine Innocenti family, creamiest gelato, best tangy yogurt, one euro cone heaped high (best value). Try: Yogurt, Pistacchio, and Nutella

RivaReno –Borgo degli Albizi 46r – newcomer (owners rumored from Milan and Great Britain?), most innovative mix-ins, great fresh fruit flavors, good cone. Try:  Lampone (raspberry), Otello ( chocolate with zabaione, brownie, and coffee), and Sweet Alabama (chocolate with peanuts)

Perché No? – Via dei Tavolini 19r – best name, traditional favorite (started in 1938, surviving war and flood), fresh fruit and nut flavors, best semifreddo. Try: Stracciatella (chocolate chip), Cioccolato Semifreddo, and Nocciola (hazelnut)

Why not? Open until midnight in the summer

Gelateria dei Neri – Via dei Neri 22r – long-time Florentine owner, fantastic fruit flavors, creamy yogurt, best variety of chocolate flavors. Try: Chocolate with candied orange, Chocolate with hot red pepper, and Mandarino (tangerine)

Carabé – Via Ricasoli 60r – Sicilian owners, delicious fruit and nut flavors (ingredients brought from Sicily), best granita. Try: Cassata Gelato, Lemon and Raspberry Granita together, and Coffee Granita with whipped cream.

Carapina – Via Lambertesca 118r – young Florentine owner, trendiest, posts a calendar of ripe fruit and only makes those flavors when they are at their peak. Try: Menta (mint), Ciliegia (cherry), and Chocolate with ginger.

Vestri – Borgo degli Albizi 11r – superb chocolate shop with the best chocolate gelato and incredible thick hot chocolate (served cold in the summer) – mix the two for affogato (gelato drowned in chocolate). Try: Affogato with Chocolate, Pistacchio or Vanilla gelato.

May 28-31, 2010

Those visiting Florence at the end of May are in for a treat. The First Annual Firenze Gelato Festival will turn Piazza S. Annuziata into a giant gelateria where artisans of the handcrafted gelato will compete for the hearts and taste buds of Florentines and foreigners from May 28 to 31, 2010.

After three days, the reservation line reports all of the spots on the Percorso del Principe tours have been filled.  Tuscan Traveler suggests that such popularity calls for more tours on more days…

The Vasari Corridor, also known as the Percorso del Principe (Path of the Prince), is open to the general public until July 2010 on a limited schedule. A special part of the city’s historical heritage that has been under the control of few select guides and museum officials (often costing the visitor more than 100 euro for a short tour) has been declared open to all by the new mayor of Florence.

A Unique Opportunity

Visitors to Florence know that to miss the Uffizi, the Ponte Vecchio with its famous gold merchants, and the gaudy splendors of the Pitti Palace is to miss Florence’s best-known sites.

What many tourists do not know is that along this same sightseeing path they also have a unique opportunity to walk in the footsteps of Renaissance nobility. Here they can view a vast collection of paintings usually reserved for the pleasure of a select few. It is called the Vasari Corridor.

Vasari Corridor seen from the Uffizi Gallery

The Vasari Corridor is an aerial passageway that connects the Palazzo Vecchio on one side of the River Arno to the Palazzo Pitti on the other. It passes over roofs and bridge of the Ponte Vecchio, and through galleries, mansions and churches. At over 500 meters (.33 miles), it is the longest single passageway of paintings and portraits in the world.

In 2010, the Italian Cultural Ministry and the City of Florence, urged on by Mayor Renzi, created a special “Prince’s Itinerary”, Il Percorso del Principe, as a guided tour to introduce the public to the Vasari Corridor. Still relatively unknown, it is one of the most exceptional and, until recently, hidden treasures of Renaissance architecture and art.

Tour participants not only see a fabulous art collection, but also are shown a hidden route with unique views and unexpected secret glimpses of the classic Florentine cityscape while walking above the heads of tourists swarming the streets below.

History of the Corridor

In the 1540’s, Cosimo I, an enlightened despot who ruled Florence and all of Tuscany, lived with his Spanish wife Eleonora di Toledo and their children above the “shop” in the Palazzo Vecchio, the Florence City Hall. Eleonora was in charge of the family finances and disliked living in the Palazzo Vecchio. In 1549, she found a house she did want, and so purchased the Palazzo Pitti from the debt-encumbered Pitti family, rivals of the Medici clan. She had the palace remodeled and enlarged. The façade grew to over 670 feet in length, becoming the grandest of the Renaissance palaces and the seat of the Medici dynasty for the next 200 years.

View of the Corridor crossing atop the Ponte Vecchio

Eleonora moved her family out of the city hall, thus forcing Cosimo to commute almost half a mile through the city streets to the government offices. A man with many enemies and one who did not mix well with the general public, Cosimo had to travel with a contingent of bodyguards. Each day they had to traverse a narrow chaotic bridge, the Ponte Vecchio, which in the 1500’s was lined with malodorous tanneries and butcher shops.

Using the occasion of his son Francesco’s 1565 wedding to Joanna of Austria as an excuse, Cosimo commissioned his architect Giorgio Vasari to design an above-ground walkway from his home to the offices. Vasari, a true man of the Renaissance – architect, painter, author and art historian – took only six months to design and direct the building of the Corridor. Cosimo did not own all of the property between the Palazzo Vecchio and the Palazzo Pitti. Vasari thus had to get permission to build the Corridor through other people’s towers, mansions and businesses. When the Mannelli family refused permission for the corridor to pass through their tower, situated at the south end of the Ponte Vecchio, Vasari designed the passageway to be built around, but attached to, il torre dei Mannelli.

Spy windows allow the dukes to see out without being seen

Cosimo claimed that the architectural wonder was for the amazement of the wedding guests and to remind the citizens of Florence of his power and authority, but he also gained an escape route from either home or office and a way to spy on the Florentines from above many of the busiest thoroughfares. The Corridor was also eventually used as a nursery for many generations of Medici children; and the elderly, infirm and lazy could be wheeled through the corridor in basket chairs. Apparently, however, the stench of the Ponte Vecchio remained a problem because in 1594, Cosimo’s son Fernando decreed that the butchers and tanners would be ousted and replaced by gold- and silversmiths.

The Tour

The Percorso del Principe Tour begins in the courtyard of the Palazzo Vecchio. It always numbers less than 20 participants and lasts about two hours. The tour group meets in the courtyard of the Palazzo Vecchio, proceeds to the Hall of the Five Hundred, Il Salone dei Cinquecento, where an Italian-speaking guide presents a short history lesson regarding the Medici, the Palazzo Vecchio and the Vasari Corridor.

The itinerary includes parts of the Palazzo Vecchio Museum. Each group is escorted through a number of governmental chambers to Eleonora’s Green Room, La Camera Verde, in the former Medici family apartments on the second floor. From there the group crosses a short sky bridge, part of the original Corridor, over Via della Ninna, and enters the east wing of the Uffizi Gallery. Tour participants have a chance to examine only the east hallway of the Uffizi – the ticket does not allow for free re-entry into the Gallery that holds the largest collection of Italian medieval and Renaissance art in the world.

The main branch of the Vasari Corridor is entered via a doorway located at the beginning of the west corridor of the Uffizi. The passage drops down a long stairway flanked by paintings from the Medici collection and then traverses the top of the arcade on the north bank of the Arno, turns right over the shops on the Ponte Vecchio, and continues on through to the Boboli Gardens of the Palazzo Pitti. Visitors exit into the garden and can remain there for the rest of the day.

Arno River seen from Mussolini's windows

Small windows all along the Corridor provide excellent views of the river and the city. The best view is in the center of the Ponte Vecchio through two large sets of windows that look west down the Arno. These windows were not part on the original design, but were installed at the direction of Mussolini during World War II because Hitler and Mussolini wanted to look at the view while they held private meetings in the Corridor.

German dynamite damaged the Vasari Corridor

By some reports, Hitler’s fondness for the Corridor and the Ponte Vecchio spared both when the retreating Germans blew up all of the other bridges crossing the Arno as the Allies advanced on Florence in August 1944. The Corridor, however, was damaged by the dynamite set at the ends of the Ponte Vecchio to block passage over the Old Bridge.

Near the south bank of the river, the Corridor passes through the interior of the church of Santa Felicita. A Corridor window looks over the gray and white pietra serena interior of the chapel, and a door enters a high rear balcony, similar to an exclusive box at the opera, where the Medici family attended services in comfort and privacy.

The Medici's balcony inside Santa Felicita

Past the church, the tour ends in the Boboli Gardens, next to the elaborate grotto designed by Bountalenti in the 1580s. At the end of the tour, participants may remain in the massive Giordino di Boboli to explore its many acres of walkways and gardens. Laid out for Eleonora di Toledo by Niccolo Tribolo in 1550, it is one of the finest examples of an Italianate landscape design.

The Collection of Paintings and Portraits

The paintings in the Corridor are arranged in three major groups.

The first collection, which starts at the doorway from the Uffizi Gallery and ends as the Corridor turns on to the Ponte Vecchio, is a group of 17th and 18th century paintings by Italian and other European artists. Acquired by the Medici clan, Cardinal Leopoldo de’Medici at his death left a collection of 730 paintings, 318 sculptures, 1,245 drawings, 589 small portraits, and thousands of medals and other objet d’arte. A small portion of his collection is displayed in the Corridor, including a number of paintings from the school of Caravaggio. Notable among the first collection are pieces by Guido Reni, Gerrit van Honthorst, Empoli, and Guercino.

The Medici collection in the Vasari Coridor

Next, as the Corridor starts across the Ponte Vecchio, there is the world’s largest collection of self-portraits, arranged chronologically, of Italian and other European artists. Cardinal Leopoldo, inspired to start the series, collected over 80 portraits in the 17th century.  The set was then augmented by earlier pieces obtained by other members of the Medici family.  Still more were added throughout the 18th, 19th, and 20th centuries by artist donation and acquisition by the Uffizi.

Only a portion of the total collection of self-portraits is hung on the Corridor walls at any one time. Those now on display include Giorgio Vasari, Titian, Correggio, Rubens, Rembrandt, Van Dyck, Velasquez, Sir Joshua Reynolds, Antonio Canova, Delacroix, John Singer Sargent, and Carlo Levi. The last displayed, but not the last to reach the Gallery, is a self-portrait donated by Marc Chagall in 1976. A fake Leonardo da Vinci is also displayed – it was part of the Medici collection, but was found by x-ray to be painted over a 17th century Magdalene.

A special gallery - rarely seen

The last group of paintings, displayed in the Corridor where it turns toward the Boboli Gardens, is a collection of Medici and Hapsburg/Lorraine family portraits, many of them of the children. These give valuable insight into the attire and mannerisms of wealthy seventeenth and eighteenth century nobility.

Uncertain Future

Few tourists get to see the inside of the Vasari Corridor. The facility is frequently closed for months at a time, and the unique construction and length of the Corridor requires that tours must be undertaken in small groups guided by Uffizi personnel. There are ongoing discussions about whether the collection in the Corridor should be taken down and tours discontinued due to security and preservation concerns. Now there are rumors of a possible years-long restoration project planned for the corridor.

Details for the 2010 Tours

In 2010 until July 7, tours are available four times on Wednesdays (9:30, 11:30, 2, & 4), two times in the morning on Thurday (9:30 & 11:30) and two times in the afternoon on Fridays (2 & 4).

Tickets to the Percorso del Principe cost 19 euro and allow you to stay in the Boboli Garden at the end of the tour.

Tours are given only in Italian, but the viewing of the Palazzo Vecchio, Uffizi hallways and the Vasari Corridor is so interesting it’s worth the wait as explanations are made to Italian-speaking visitors.

Reservations should be made well in advance by calling +39 055.294.883 or through the Florence museum web site www.polomuseale.firenze.it.  (The title of the tour is Percorso del Principe and the person taking your reservation will likely not understand if you say “Vasari Corridor”.)

If you are in Florence, tickets can be bought without reservation (if available) at the ticket office on the back of Orasanmichele on Via Calzaiouli or the ticket office at the Pitti Palace.  If you make a reservation in advance, you redeem it and purchase your tickets at Door # 2 at the Uffizi Gallery.

The tour group is requested to meet 15 minutes before the tour time at the “Percorso del Principe” sign in the courtyard of the Palazzo Vecchio